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Antique swords from the pre-colonial West African kingdom of Dahomey are aesthetically unique, but they also have many design features inspired by swords from Europe, the Islamic world and elsewhere. As the kingdom was famous for importing luxury European objects, this study aimed to pinpoint evidence of Dahomean sword composition and manufacture to determine scientifically whether they were being made in Dahomey, or imported. An inter-disciplinary team made up of historical archaeologists and neutron scientists examined six 19th century Dahomean swords, using a non-invasive multi-methodological approach based on neutron tomography, powder diffraction full pattern analysis and diffraction residual stress measurements. The findings suggest that, despite their foreign design influences, not only were these striking heritage objects made in Africa, they may also have been likely made from locally smelted iron–something that contradicts the assumptions of the few existing historical reports. This has important implications for studies on the kingdom, and also helps to further the long-standing debate surrounding European iron imports—not just within Dahomey, but throughout the wider West African region. [ABSTRACT FROM AUTHOR]

Researchers utilized non-invasive analytical techniques such as micro-X-ray fluorescence (µ-XRF) spectroscopy, micro-X-ray diffraction (µ-XRD), and micro-Raman spectroscopy to examine a silver oval bowl adorned with tigers and grapevines, believed to date back to the Sasanian period of Iran (third to seventh centuries CE). The bowl, currently housed in the Department of Ancient Near Eastern Art at the Metropolitan Museum of Art, underwent analysis aimed at identifying the composition of both the silver alloy and the niello used in its decoration. The primary objective of the study was to discern the alloy composition and the niello application technique employed by Sasanian metalworkers. The findings revealed that the bowl is crafted from a silver–copper alloy containing approximately 3 wt.% of copper. Additionally, the niello inlays were determined to consist solely of silver sulfide (acanthite). The composition of the niello closely resembles that of early Roman niello inlays, suggesting a possible technological connection with Romans in the Sasanian period. [ABSTRACT FROM AUTHOR]

The interdisciplinary study of two reliquary busts from Sarezzano (Piedmont, Italy) is a perfect example of the necessity to provide for material characterisation as a recurring common practice in historical studies and a mandatory step in conservation assessment. Furthermore, the diagnostics of cultural heritage play a crucial role in art historical research, providing relevant information on artefacts’ genesis, production technology, and conservation history. The study of the materials of the reliquary busts was performed by non-invasive (portable X-ray fluorescence spectrometry) and micro-invasive (stereomicroscope, attenuated total reflection Fourier transform infrared spectroscopy and powder X-ray diffraction analysis) methods. According to the results, the busts were found to be made of a tin–lead alloy, a rather unusual material for mediaeval reliquary busts. Moreover, the outcome suggests that the busts were originally silvered, except for the hair and beard which are still gilded. The analysis reveals the use of colophony as an adhesive buffer layer on the busts’ alloy, as well as inside them, to favour the metal working process, since it is found as degraded residue. Finally, even the typology of alloy decay is defined. All this information has enabled us to determine the artistic technique and estimate the value and quality of the material employed. In addition, it has led to the correct choice of materials and methods to be adopted during the restoration, and therefore the usage of more suitable solvents and tools.

Azurite, a natural mineral pigment consisting of basic copper carbonate (2CuCO3·Cu(OH)2), is one of the Middle Ages' most common blue pigments. Why paintings originally coated with azurite appear blackened today remains debated. Using a non-invasive multi-analytical approach, the study analysed several unexpectedly black-appearing details (objects such as books or clothing such as veils, robes, or mantles) in Antoine de Lonhy's works. The aim was to investigate if the black colour was due to intentional iconographic reasons, incautious restoration work, or painting deterioration. The analytical results displayed the presence of the blue pigment azurite, therefore, the expected original colour of various areas should be blue. To shed light on the discussion regarding the blackening, several other Renaissance paintings with similar black details were analysed, all from the same period and geographic area as de Lonhy's works and conserved under identical conditions. The reasons why the blackening takes place are still unclear. However, the combined use of X-ray fluorescence spectrometry (XRF), UV-visible diffuse reflectance spectrophotometry with optical fibres (FORS), portable X-ray diffraction (XRD), and the elemental mapping based on the XRF data revealed that these blackened areas were originally painted with azurite, suggesting they were once blue. This finding significantly changes the overall appreciation of these artworks. [ABSTRACT FROM AUTHOR]

The interdisciplinary study of two reliquary busts from Sarezzano (Piedmont, Italy) is a perfect example of the necessity to provide for material characterisation as a recurring common practice in historical studies and a mandatory step in conservation assessment. Furthermore, the diagnostics of cultural heritage play a crucial role in art historical research, providing relevant information on artefacts' genesis, production technology, and conservation history. The study of the materials of the reliquary busts was performed by non-invasive (portable X-ray fluorescence spectrometry) and micro-invasive (stereomicroscope, attenuated total reflection Fourier transform infrared spectroscopy and powder X-ray diffraction analysis) methods. According to the results, the busts were found to be made of a tin–lead alloy, a rather unusual material for mediaeval reliquary busts. Moreover, the outcome suggests that the busts were originally silvered, except for the hair and beard which are still gilded. The analysis reveals the use of colophony as an adhesive buffer layer on the busts' alloy, as well as inside them, to favour the metal working process, since it is found as degraded residue. Finally, even the typology of alloy decay is defined. All this information has enabled us to determine the artistic technique and estimate the value and quality of the material employed. In addition, it has led to the correct choice of materials and methods to be adopted during the restoration, and therefore the usage of more suitable solvents and tools. [ABSTRACT FROM AUTHOR]

Influenced by the spreading route of Buddhism, palm leaf manuscripts in China are mostly distributed in Yunnan province and Tibet. The ink of palm leaf manuscripts from Yunnan province is left in the incisions, while the ink of palm leaf manuscripts from Tibet is written on the surface. The two inks have different compositions and application techniques, which may lead to varying degrees of flaking and ink loss. Application technique and ink composition are crucial for conservation measures. In this study, non-destructive analysis techniques including a portable digital microscope, Fourier transform infrared spectroscopy (FTIR), and X-ray fluorescence (XRF) were undertaken to analyse the characteristics and preservation condition of inks applied with different techniques on palm leaf manuscripts. Morphologies indicated that the interaction of ink and support influence the type and extent of ink loss. FTIR and XRF results showed significant differences in ink composition between incised palm leaf manuscripts from Yunnan and surface-written manuscripts from Tibet. Manuscripts from different periods within the same region exhibited similarities in ink composition. This paper significantly contributes to understanding properties of inks, offering an essential reference for ink consolidation. [ABSTRACT FROM AUTHOR]

This work investigates the possibility of identification of natural dyes (madder and cochineal) and mordant types (Al, Sn, Cr, Cu, Fe) in dyed wool fibers using spectral imaging-based methods. For this purpose, technical imaging, including UVL, IRR and UVR, and obtained IRFC and UVFC images were used, along with multispectral imaging (350-1100 nm) and hyperspectral imaging (400-950 nm). The grayscales of multispectral and hyperspectral images were extracted to quantify the imaging data. The grayscale and the first derivative of the reflectance spectra obtained from the hyperspectral camera were investigated using multivariate principal component analysis and hierarchical clustering to separate the different groups of dyed fibers. According to results, aluminum and tin mordanted fibers could be distinguished from other groups as per UVL and IRFC images; similarly, the type of dye (madder or cochineal) was distinguishable from UVFC images. Interestingly, PCA analysis of grayscales of multispectral images provided an appropriate separation of all groups of fibers with different mordants and dyes. The 3d PCA plot and the hierarchical clustering of the first derivative of the reflectance spectra also resulted in better separation and classification of the dyed fiber groups. Nevertheless, the best performance in clustering fibers groups can be seen in the PCA analysis of grayscales obtained from hyperspectral images recorded at 430-830 nm. Therefore, hyperspectral imaging can be considered a more appropriate method for categorizing dyed fibers with different dyes and mordants. [ABSTRACT FROM AUTHOR]

Fish is a vital food source, providing essential nutrients and playing a crucial role in global food security. In Tamil Nadu, fish is particularly important, contributing significantly to the local diet, economy, and livelihoods of numerous fishing communities along its extensive coastline. Our objective is to develop an efficient fish detection system in pond environments to contribute to small-scale industries by facilitating fish classification, growth monitoring, and other essential aquaculture practices through a non-invasive approach. This dataset comprises of Orange Chromide fish species (Etroplus maculatus) captured under several computer vision challenges, including occlusion, turbid water conditions, high fish density per frame, and varying lighting conditions. We present annotated images derived from underwater video recordings in Retteri Pond, Kolathur, Chennai, Tamil Nadu (GPS coordinates: Lat 13.132725, Long 80.212555). The footage was captured using an underwater camera without artificial lighting, at depths less than 4 m to maintain naturalness in underwater images. The recorded videos were converted to 2D images, which were manually annotated using the Roboflow tool. This carefully annotated dataset, offers a valuable resource for aquaculture engineers, marine biologists, and experts in computer vision, and deep learning, aiding in the creation of automated detection tools for underwater imagery.

Abstract In 1540, in Ingolstadt, Germany, the influential astronomer and printer Peter Apian produced the Astronomicum Caesareum: a printed and hand-coloured astronomical book visualising the Ptolemaic universe through the use of diagrams and wheelcharts, worthy of his imperial patron, Charles V. About 130 copies have survived to this day, with varying degrees of paper quality and level of decoration, and only eleven volumes are considered deluxe copies. We thoroughly analysed one deluxe volume held at the Fitzwilliam Museum, Cambridge, and compared the results with four (one deluxe and three standard) other copies from institutions in the UK. A non-invasive analytical protocol was applied, including extensive microscopy, fibre-optic reflectance spectroscopy (FORS), X-ray spectroscopy (XRF), macroscale XRF (MA-XRF) and Raman spectroscopy. The most interesting pages were chosen based on art-historical evidence and the variety of the colour palette, including on volvelles (wheelcharts) and coats of arms. Following a systematic approach, we analysed the same pages in each volume, gathering information on the colour palette in all the volumes. The type of paper and the presence of watermarks were also documented. A wide range of materials was identified in the five copies, including red, purple and yellow organic dyes, lead white, verdigris, vermilion, azurite, indigo, smalt, and lead–tin yellow. Mosaic gold was used to embellish certain paint passages in the deluxe volumes and metals (gold and silver) were applied on some pages. The comprehensive findings were essential to identify specific traits related to Apian’s workshop, to differentiate deluxe from standard copies, to suggest an order of production of the copies, and to provide new information on this landmark book and more generally in an under-researched field of study.

In 1540, in Ingolstadt, Germany, the influential astronomer and printer Peter Apian produced the Astronomicum Caesareum: a printed and hand-coloured astronomical book visualising the Ptolemaic universe through the use of diagrams and wheelcharts, worthy of his imperial patron, Charles V. About 130 copies have survived to this day, with varying degrees of paper quality and level of decoration, and only eleven volumes are considered deluxe copies. We thoroughly analysed one deluxe volume held at the Fitzwilliam Museum, Cambridge, and compared the results with four (one deluxe and three standard) other copies from institutions in the UK. A non-invasive analytical protocol was applied, including extensive microscopy, fibre-optic reflectance spectroscopy (FORS), X-ray spectroscopy (XRF), macroscale XRF (MA-XRF) and Raman spectroscopy. The most interesting pages were chosen based on art-historical evidence and the variety of the colour palette, including on volvelles (wheelcharts) and coats of arms. Following a systematic approach, we analysed the same pages in each volume, gathering information on the colour palette in all the volumes. The type of paper and the presence of watermarks were also documented. A wide range of materials was identified in the five copies, including red, purple and yellow organic dyes, lead white, verdigris, vermilion, azurite, indigo, smalt, and lead–tin yellow. Mosaic gold was used to embellish certain paint passages in the deluxe volumes and metals (gold and silver) were applied on some pages. The comprehensive findings were essential to identify specific traits related to Apian's workshop, to differentiate deluxe from standard copies, to suggest an order of production of the copies, and to provide new information on this landmark book and more generally in an under-researched field of study. [ABSTRACT FROM AUTHOR]

Recent progress in the realm of imaging technologies has swiftly disseminated fresh methodologies for representing objects, broadening the horizons for scholars such as art historians, archaeologists, conservators, and conservation scientists. Reflectance Transformation Imaging (RTI) and three-dimensional (3D) modeling via Structure from Motion (SfM) have rapidly gained popularity and are being employed by a wide range of users, expanding the possibilities for understanding objects of material cultural heritage from different perspectives. This paper explores the outcomes achieved through the application of these techniques to gain deeper insights into the surface of a bas-relief within a confined space. This methodology enhanced our understanding of the original sandstone surfaces of the bas-relief by integrating RTI and 3D visualization, thereby acquiring a novel investigative tool with enhanced illumination possibilities. A data fusion approach is proposed using photogrammetry to produce a Virtual RTI (V-RTI). In the case study reported in this paper, focusing on one inner wall of the chapel of Ellesiya at the Museo Egizio of Turin, V-RTI was employed to obtain useful surface information in a context where conventional RTI would have been impossible to achieve. Finally, the study compares the different techniques through direct qualitative and quantitative analysis, highlighting possible future developments from both instrumental and methodological points of view. [ABSTRACT FROM AUTHOR]

Rice (Oryza sativa) is the primary crop for nearly half of the world's population. Groundwater in many rice-growing parts of the world often has elevated levels of arsenite and arsenate. At the same time, rice can accumulate up to 20 times more arsenic compared to other staple crops. This places an enormous amount of people at risk of chronic arsenic poisoning. In this study, we investigated whether Raman spectroscopy (RS) could be used to diagnose arsenic toxicity in rice based on biochemical changes that were induced by arsenic accumulation. We modeled arsenite and arsenate stresses in four different rice cultivars grown in hydroponics over a nine-day window. Our results demonstrate that Raman spectra acquired from rice leaves, coupled with partial least squaresdiscriminant analysis, enabled accurate detection and identification of arsenic stress with approximately 89% accuracy. We also performed high-performance liquid chromatography (HPLC)-analysis of rice leaves to identify the key molecular analytes sensed by RS in confirming arsenic poisoning. We found that RS primarily detected a decrease in the concentration of lutein and an increase in the concentration of vanillic and ferulic acids due to the accumulation of arsenite and arsenate in rice. This showed that these molecules are detectable indicators of biochemical response to arsenic accumulation. Finally, a cross-correlation of RS with HPLC and ICP-MS demonstrated RS's potential for a label-free, non-invasive, and nondestructive quantification of arsenic accumulation in rice. [ABSTRACT FROM AUTHOR]

Abstract In this study, the in-situ non-invasive analysis of the conservation materials on the mural paintings in the Dahuting Han Dynasty Tomb was performed. The analytical process of non-invasive measurement for mural conservation materials has been designed, including digital microscopy, external reflectance Fourier transform infrared spectroscopy, and optical coherence tomography. By using these methods, effective analytical results have been acquired. The microscopic morphologies of the murals were observed and recorded via a portable digital microscope, thereby the effects of the conservation materials on the surface of the murals and the structural characteristics of the coatings were clarified. Through external reflectance Fourier transform infrared spectroscopy analysis, it was found that both the painting ground layer and the edge reinforcement material are calcium carbonate, and there are cellulose nitrate and poly(methyl methacrylate) as conservation materials on the surfaces of the murals in different areas. The spatial location and distribution of these conservation materials were determined by principal component analysis of infrared spectra. The thicknesses of cellulose nitrate and poly(methyl methacrylate) coatings were measured by optical coherence tomography. The above work laid a solid foundation for the subsequent conservation and restoration of the murals. It is proved that the in-situ non-invasive analytical methods applied in this work have broad prospects for the measurement of conservation materials on murals.

• Two complementary injection techniques: HS and direct injection of a DMA extract. • Simple, non-destructive, visually non-disruptive sampling setup for a display case. • Method successfully used to detect volatile degradation markers in a display case. A novel method was developed and optimized for the determination of volatile organic compounds (VOCs) inside an airtight exhibition case used for the storage and display of museum artifacts. The method uses a static headspace module coupled to a gas chromatograph/mass spectrometer. In this method, the air is sampled by passive samplers (coconut shell charcoal and synthetic charcoal). In the laboratory, the VOCs are thermally desorbed (120 min, 60 °C) in the HS furnace after the addition of a small volume of dimethylacetamide (DMA). The VOCs present in the gas phase are then automatically analyzed by GC–MS. The information obtained is complemented by the analysis of the DMA liquid phase by direct injection GC–MS in the same chromatograph. The VOCs are identified by studying the mass spectra obtained by both techniques. This approach provides an economically viable, non-invasive and visually non-disruptive solution for VOC detection in enclosed spaces in museum environments. The use of two complementary injection techniques allows for good detection and suitable chromatographic response to a wide range of volatile compounds. This method was applied for the identification of VOCs present in an enclosed airtight exhibition case at the Museu Nacional d'Art de Catalunya (MNAC), where the formation of efflorescence was observed on the surface of a Modernist jewel displayed inside, as it was suspected that VOCs were the main cause for the degradation. Forty-five different VOCs were detected and identified inside the exhibition case: thirteen of them by HS–GC–MS, fifteen of them by direct injection GC–MS, and seventeen by both techniques. Among the most relevant VOCs identified, acetic acid, acetaldehyde and formaldehyde stand out due to the danger they pose to museum artifacts exposed in enclosed spaces, especially in the long term. [ABSTRACT FROM AUTHOR]

Rice (Oryza sativa) is the primary crop for nearly half of the world’s population. Groundwater in many rice-growing parts of the world often has elevated levels of arsenite and arsenate. At the same time, rice can accumulate up to 20 times more arsenic compared to other staple crops. This places an enormous amount of people at risk of chronic arsenic poisoning. In this study, we investigated whether Raman spectroscopy (RS) could be used to diagnose arsenic toxicity in rice based on biochemical changes that were induced by arsenic accumulation. We modeled arsenite and arsenate stresses in four different rice cultivars grown in hydroponics over a nine-day window. Our results demonstrate that Raman spectra acquired from rice leaves, coupled with partial least squares-discriminant analysis, enabled accurate detection and identification of arsenic stress with approximately 89% accuracy. We also performed high-performance liquid chromatography (HPLC)-analysis of rice leaves to identify the key molecular analytes sensed by RS in confirming arsenic poisoning. We found that RS primarily detected a decrease in the concentration of lutein and an increase in the concentration of vanillic and ferulic acids due to the accumulation of arsenite and arsenate in rice. This showed that these molecules are detectable indicators of biochemical response to arsenic accumulation. Finally, a cross-correlation of RS with HPLC and ICP-MS demonstrated RS’s potential for a label-free, non-invasive, and non-destructive quantification of arsenic accumulation in rice.

The adaptable nature of the SARS-CoV-2 virus has led to the emergence of multiple viral variants of concern. This research builds upon a previous demonstration of sampling human hand odor to distinguish SARS-CoV-2 infection status in order to incorporate considerations of the disease variants. This study demonstrates the ability of human odor expression to be implemented as a non-invasive medium for the differentiation of SARS-CoV-2 variants. Volatile organic compounds (VOCs) were extracted from SARS-CoV-2-positive samples using solid phase microextraction (SPME) coupled with gas chromatography–mass spectrometry (GC–MS). Sparse partial least squares discriminant analysis (sPLS-DA) modeling revealed that supervised machine learning could be used to predict the variant identity of a sample using VOC expression alone. The class discrimination of Delta and Omicron BA.5 variant samples was performed with 95.2% (±0.4) accuracy. Omicron BA.2 and Omicron BA.5 variants were correctly classified with 78.5% (±0.8) accuracy. Lastly, Delta and Omicron BA.2 samples were assigned with 71.2% (±1.0) accuracy. This work builds upon the framework of non-invasive techniques producing diagnostics through the analysis of human odor expression, all in support of public health monitoring.

The Archbishop’s Palace of Seville harbours an important art collection with mostly works by great Renaissance and Baroque artists. However, the authorship of some paintings is unknown, and, in a few cases, there is an interest in discovering the painter due to the quality of the artwork. As a first step for this purpose, a systematic analysis procedure has been established using non-destructive techniques, such as UV photography and IR reflectography, to locate interventions and underpaintings, as well as X-ray fluorescence to identify original pigments and those of later interventions. The study following this established protocol is presented with the example of two paintings by unknown authors. They were made in different centuries representing, consequently, different styles. UV images showed several retouches, while IR reflectography revealed under-drawing and composition corrections (pentimenti). Furthermore, XRF identified the pigments applied in the production of the different colours and tonalities, allowing to characterise the artist’s palette, whose pigments generally agree with the dates when the artworks were produced. This study resulted in valuable information on painting materials and techniques, which will be useful in the search for authorships, among others.

Desorption electrospray ionization mass spectrometry (DESI-MS) is an ambient mass spectrometry technique that shows great potential for the analysis of fragile heritage objects in situ. This article focuses on the application of a recently built DESI source to characterize natural dyestuffs in historical textiles and a presentation of initial imaging experiments. Optimization of the instrumental settings, geometrical parameters, and solvent system on the DESI-MS analysis was conducted on rhodamine B samples. Some variables, including an increased flow rate, a narrower range of optimized geometrical variables and a solvent system without additives, were applicable to both early synthetic and natural dyes. Direct dye turmeric (Curcuma longa L.) could be reliably analyzed on both silk and wool, as could anthraquinone standards without mordanting. These preliminary results suggest that the dye application process (direct, mordant, vat) has a large impact on the ionization efficiency of DESI-MS. Imaging trials highlighted the suitability of DESI-MS for the analysis of patterned textiles that are difficult to sample, such as calico fabrics, or other currently inaccessible objects.

This article concerns the diagnostic campaign aimed at analyzing the mural painting representing the iconographic theme of the Deesis of the Church of St. Maria Annunziata, Motta San Giovanni, in the province of Reggio Calabria. In 1951, a flood caused the collapse of the building and the consequent breaking of the apse into two parts. The present study focused on the left side of the apse, hosting the figures of Christ and Mary, in order to plan the best conservation intervention strategy. For this purpose, non-invasive investigations and laboratory analytical methods were conducted in order to characterize the constituent materials and to identify the forms of alteration and degradation present on the surface of the painting. In particular, Raman spectroscopy, optical microscopy, scanning electron microscopy coupled to the chemical analysis by an EDS probe, Fourier-transform infrared spectroscopy and ion chromatography were employed. The results highlighted the presence of a single layer of plaster made with a lime-based binder. The chromatic palette of the painting is characterized by ochres and carbon black mixed with lime to obtain the different shades. Finally, the definition of the nature of the deposits and of the overlaid materials was fundamental in order to identify the best products and methods to restore the readability of the work. [ABSTRACT FROM AUTHOR]

The mineralogical composition of archaeological pottery is closely related to the raw material and the firing conditions, thus constituting a source of information both on the origin and the manufacturing technology of ceramic artefacts. The techniques used to clarify the composition of the ceramic material from the point of view of the mineralogical phases include X-ray diffraction (XRD), Fourier-transform infrared spectroscopy (FTIR) and petrographic analysis. Such techniques normally require the taking of a sample from the object, thus often limiting their applicability to sherds rather than intact vessels. The present study aims to investigate the possibility of applying reflection FTIR spectroscopy in the mid- and near-IR to the non-invasive analysis of the mineralogical composition of archaeological pottery, with reference to a set of Etruscan ceramic materials from the excavation of Tarquinia (Italy). [ABSTRACT FROM AUTHOR]

• Ancient oxide- and sulfide-based pigments were study by portable ER-FTIR. • ER-FTIR portable spectroscopy enables mid-IR and a portion of Far-IR regions. • First results on band-assignment and interpretation of reflection spectra. • Masking and distortion of the bands may occur on fresco paintings. • Validation of the method on roman fresco fragments. Scientific interest in analytical tools that enable reliable, repeatable, and rapid measurements without sampling is growing in the field of cultural heritage. Therefore, improving the use of methods that permit an efficient characterization of a wide range of materials through non-invasive and portable instruments, such as spectroscopies, is currently in high demand. This work is focused on the non-invasive study and identification of selected red and yellow pigments containing oxides and sulfides, frequently used in ancient wall-paintings, by means of portable External Reflectance Fourier Transform Infrared spectroscopy (ER-FTIR) within an extended spectral range (7500 - 360 cm−1) which includes a portion of far IR addressing diagnostic peaks and band assignment for the first time. In this work we have also examined the reflection signals of the pigments when applied on a surface representing a fresco wall-painting, to discuss possible changes of the profile as the optical and morphological properties of the surface change. For this purpose, yellow and red oxides, ochres, Siennas, minium, orpiment, and vermillion were selected and used to produce laboratory mock-ups of fresco paints. The ER-FTIR signals obtained on raw pigments were firstly validated by portable non-invasive Raman spectroscopy and X-Ray Fluorescence, and bench-top X-Ray powder Diffraction. Then, the results were subsequently compared with the ER-FTIR signals collected on the mock-ups to discuss the changes in the reflection spectral profile when in presence of rough surfaces and matrix-effects. The combined study on reference materials and mock-ups allowed to identify and discuss ER-FTIR marker bands which were finally validated on real samples of three fragments of Roman frescos provided by the Archeological Museum "San Lorenzo" in Cremona. The proposed method demonstrates distinctive IR features from external reflection analysis on the selected pigments, scarcely studied by portable FTIR instruments, offering a decisive advancement for in situ analytical characterization of the pigments used in wall-paintings. [Display omitted] [ABSTRACT FROM AUTHOR]

Continuous monitoring and recording of the type and caloric content of ingested foods with a minimum of user intervention is very useful in preventing metabolic diseases and obesity. In this paper, automatic recognition of food type and caloric content was achieved via the use of multi-spectral images. A method of fusing the RGB image and the images captured at ultra violet, visible, and near-infrared regions at center wavelengths of 385, 405, 430, 470, 490, 510, 560, 590, 625, 645, 660, 810, 850, 870, 890, 910, 950, 970, and 1020 nm was adopted to improve the accuracy. A convolutional neural network (CNN) was adopted to classify food items and estimate the caloric amounts. The CNN was trained using 10,909 images acquired from 101 types. The objective functions including classification accuracy and mean absolute percentage error (MAPE) were investigated according to wavelength numbers. The optimal combinations of wavelengths (including/excluding the RGB image) were determined by using a piecewise selection method. Validation tests were carried out on 3636 images of the food types that were used in training the CNN. As a result of the experiments, the accuracy of food classification was increased from 88.9 to 97.1% and MAPEs were decreased from 41.97 to 18.97 even when one kind of NIR image was added to the RGB image. The highest accuracy for food type classification was 99.81% when using 19 images and the lowest MAPE for caloric content was 10.56 when using 14 images. These results demonstrated that the use of the images captured at various wavelengths in the UV and NIR bands was very helpful for improving the accuracy of food classification and caloric estimation. [ABSTRACT FROM AUTHOR]

The Madonna with Child by Andrea Mantegna owned by the Museo Poldi Pezzoli in Milan is painted on canvas with an unusual distemper technique. During the period of 1863–1865, the painting was restored by Giuseppe Molteni. The identification of potential retouchings by Molteni, possibly covering part of the original layer, was the object of this work carried at the Opificio delle Pietre Dure. To evaluate the extent of both Molteni's intervention and Mantegna's original layer, the MA-XRF spectrometer developed by CHNet-INFN was used to discriminate between the two paint layers and identify the materials and the extension of both "artists". Indeed, the elemental maps showed that Molteni's work entirely covered the mantle of the Virgin, even changing the fold of the draperies and enriching the red robe with shell gold highlights, giving a different appearance to the painting. Moreover, MA-XRF also revealed that the original Mantegna was still mostly intact underneath Molteni's layer, thereby providing a decisive guide for conservation works. These results indeed formed the basis for the technical decision to remove the varnish and Molteni's version, unveiling the original Mantegna. A second MA-XRF campaign was then carried out to fully characterise the materials of this unusual painting technique. [ABSTRACT FROM AUTHOR]

Recent progress in the realm of imaging technologies has swiftly disseminated fresh methodologies for representing objects, broadening the horizons for scholars such as art historians, archaeologists, conservators, and conservation scientists. Reflectance Transformation Imaging (RTI) and three-dimensional (3D) modeling via Structure from Motion (SfM) have rapidly gained popularity and are being employed by a wide range of users, expanding the possibilities for understanding objects of material cultural heritage from different perspectives. This paper explores the outcomes achieved through the application of these techniques to gain deeper insights into the surface of a bas-relief within a confined space. This methodology enhanced our understanding of the original sandstone surfaces of the bas-relief by integrating RTI and 3D visualization, thereby acquiring a novel investigative tool with enhanced illumination possibilities. A data fusion approach is proposed using photogrammetry to produce a Virtual RTI (V-RTI). In the case study reported in this paper, focusing on one inner wall of the chapel of Ellesiya at the Museo Egizio of Turin, V-RTI was employed to obtain useful surface information in a context where conventional RTI would have been impossible to achieve. Finally, the study compares the different techniques through direct qualitative and quantitative analysis, highlighting possible future developments from both instrumental and methodological points of view.

Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, “bismuth black” and the likely use of glass powders in lakes are discussed.

INFN-CHNet is the cultural heritage network of the Italian National Institute of Nuclear Physics (INFN) and is constituted by units from Italy and from outside Europe, one of them at Universidad Nacional de San Martín (UNSAM) in Buenos Aires, Argentina. As a result of the initiative carried out during 2015 by the Accademia dei Lincei for the year of the Italian culture in Latin America, an INFN-CHNet laboratory was set at CEPyA-UNSAM with the collaboration of INFN and the Restoration Workshop Centro Tarea. Noteworthy, this laboratory is conceived as a multidisciplinary research facility with complementary skills, both scientific and humanistic. In this context, the first instrument jointly set up, optimised, and applied to Cultural Heritage was an X-ray fluorescence scanner. In this manuscript, we describe the instrument and its main features together with a set of representative yet novel applications in the field of cultural heritage, namely, the experimental study of hidden rock art through laboratory replicas that imitates the problems found in the archaeological sites (hematite drawings hidden below carbon deposition); the study and chemical characterisation of archaeological decorated pottery; and finally, the application of the XRF scanner to ancient photography, for quick and accurate identification of materials and techniques employed. Beyond these specific results, the primary output of this initiative has been the conception of a future network of scientific laboratories in South America, coordinated by CEPyA at UNSAM. [ABSTRACT FROM AUTHOR]

The adaptable nature of the SARS-CoV-2 virus has led to the emergence of multiple viral variants of concern. This research builds upon a previous demonstration of sampling human hand odor to distinguish SARS-CoV-2 infection status in order to incorporate considerations of the disease variants. This study demonstrates the ability of human odor expression to be implemented as a non-invasive medium for the differentiation of SARS-CoV-2 variants. Volatile organic compounds (VOCs) were extracted from SARS-CoV-2-positive samples using solid phase microextraction (SPME) coupled with gas chromatography–mass spectrometry (GC–MS). Sparse partial least squares discriminant analysis (sPLS-DA) modeling revealed that supervised machine learning could be used to predict the variant identity of a sample using VOC expression alone. The class discrimination of Delta and Omicron BA.5 variant samples was performed with 95.2% (±0.4) accuracy. Omicron BA.2 and Omicron BA.5 variants were correctly classified with 78.5% (±0.8) accuracy. Lastly, Delta and Omicron BA.2 samples were assigned with 71.2% (±1.0) accuracy. This work builds upon the framework of non-invasive techniques producing diagnostics through the analysis of human odor expression, all in support of public health monitoring. [ABSTRACT FROM AUTHOR]

The Archbishop's Palace of Seville harbours an important art collection with mostly works by great Renaissance and Baroque artists. However, the authorship of some paintings is unknown, and, in a few cases, there is an interest in discovering the painter due to the quality of the artwork. As a first step for this purpose, a systematic analysis procedure has been established using non-destructive techniques, such as UV photography and IR reflectography, to locate interventions and underpaintings, as well as X-ray fluorescence to identify original pigments and those of later interventions. The study following this established protocol is presented with the example of two paintings by unknown authors. They were made in different centuries representing, consequently, different styles. UV images showed several retouches, while IR reflectography revealed under-drawing and composition corrections (pentimenti). Furthermore, XRF identified the pigments applied in the production of the different colours and tonalities, allowing to characterise the artist's palette, whose pigments generally agree with the dates when the artworks were produced. This study resulted in valuable information on painting materials and techniques, which will be useful in the search for authorships, among others. [ABSTRACT FROM AUTHOR]

Desorption electrospray ionization mass spectrometry (DESI-MS) is an ambient mass spectrometry technique that shows great potential for the analysis of fragile heritage objects in situ. This article focuses on the application of a recently built DESI source to characterize natural dyestuffs in historical textiles and a presentation of initial imaging experiments. Optimization of the instrumental settings, geometrical parameters, and solvent system on the DESI-MS analysis was conducted on rhodamine B samples. Some variables, including an increased flow rate, a narrower range of optimized geometrical variables and a solvent system without additives, were applicable to both early synthetic and natural dyes. Direct dye turmeric (Curcuma longa L.) could be reliably analyzed on both silk and wool, as could anthraquinone standards without mordanting. These preliminary results suggest that the dye application process (direct, mordant, vat) has a large impact on the ionization efficiency of DESI-MS. Imaging trials highlighted the suitability of DESI-MS for the analysis of patterned textiles that are difficult to sample, such as calico fabrics, or other currently inaccessible objects. [ABSTRACT FROM AUTHOR]

This work illustrates a novel prototype of a transmittance hyperspectral imaging (HSI) scanner, operating in the 400–900 nm range, and designed on purpose for non-invasive analysis of photographic materials, such as negatives, films and slides. The instrument provides high-quality spectral data and high-definition spectral images on targets of small size (e.g., 35 mm film strips) and is the first example of HSI instrumentation specifically designed for applications in the photographic conservation field. The instrument was tested in laboratory and on a set of specimens selected from a damaged photographic archive. This experimentation, though preliminary, demonstrated the soundness of a technical approach based on HSI for large-scale spectroscopic characterization of photographic archival materials. The obtained results encourage the continuation of experimentation of HSI as an advanced tool for photography conservation. [ABSTRACT FROM AUTHOR]

[Display omitted] • ER-FTIR spectroscopy as a novel tool for non-invasive textile fibre identification. • Reference fibre spectra are compared and interpreted. • Enhanced diagnostic bands and extended spectral range aid in fibre identification. • Applied to traditional Japanese samurai armours, revealing historical insights. • Enables prescreening before sampling for destructive analyses. Identifying the fibres in historical textiles presents a complex challenge due to the wide variety of plant, animal and early synthetic materials that have been used. Traditionally, this identification process involves sampling followed by either microscopic examination or ATR-FTIR spectroscopy. However, there are instances when sampling is restricted due to the good condition or significant value of the object under analysis. Additionally, the presence of leather components alongside textiles can further complicate the identification. This paper proposes a novel non-invasive method for fibre identification based on External Reflection (ER) FTIR spectroscopy, which has been rarely applied to textiles or leather. The current research demonstrates that ER-FTIR spectrum is a viable tool for fibre identification on both recent and historical textiles. The non-invasiveness of the analytical approach enables a comprehensive investigation without compromising the number or position of samples. Respect to ATR-FTIR spectra, the ER-FTIR spectra frequently exhibit an amplification of certain diagnostic bands, facilitating the identification of the various fibres examined in this study (cotton, hemp, viscose, silk, wool, leather, polyamide, acrylic, polyester). The extended spectral range (7500–375 cm−1) which is provided by ER-FTIR spectrometry also contains extra bands in the near infrared region, which can provide key information for the discrimination due to the lack of distortion phenomena. The technique was applied to the characterisation of textile materials coming from a collection of 10 traditional Japanese samurai armours spanning from the 16th to the 20th century (Museo delle Culture, Lugano, Switzerland). For the first time, the results provided a comprehensive overview of the textiles utilized in Japanese armours across various historical periods. Overall, the appearance of materials in samurai armours reflects the evolution of armour-making techniques and the influence of socio-cultural factors throughout Japanese history. Synthetic and semi-synthetic materials were easily detected, revealing the occurrence of a past conservation treatment or the early adoption of modern man-made materials in the manufacturing of traditional armours. The approach outlined in this case study can be applied to textile collections of various kinds, offering a reliable mean to discern the yarn composition and detect non-original components. The method also appears as a valuable prescreening tool for designing a less intrusive yet more informative sampling strategy, should additional details about fibre type and dyeing be necessary. [ABSTRACT FROM AUTHOR]

Diagnostics on historical art samples are decisive for assessing degradation and understanding the chemical composition of supports and polychromies. These investigations help us in uncovering the artist's style and techniques and provide invaluable information for restoration, preservation and conservation. In paint formulation, the binder, also known as medium , disperses insoluble pigments and creates a homogeneous, adhesive mixture. Various analytical techniques, often used in combination, are usually employed to characterize binders with infrared (IR) and Raman spectroscopies being the most common choices. Recently, mass spectrometry (MS) has gained prominence for its ability to allow detailed structural characterization and identification, thanks to soft ionization sources such as matrix-assisted laser desorption ionization (MALDI) and electrospray ionization (ESI). However, MS typically requires micro-sampling, which is often prohibited for highly valuable artworks. This limitation has driven research toward the development of innovative minimally invasive sampling strategies like enzyme-functionalized gels applied to polychromies for in-situ protein digestion and peptide extraction. These quasi-non-invasive methods offer powerful solutions for extracting and characterizing organic painting binders, unlocking valuable insights into these elusive materials. This review aims to explore both the most common non-invasive analytical techniques used to characterize ancient and contemporary painting binders, and the most recent advancements in minimally invasive sampling strategies, which represent convenient and interesting approaches to enable the use of invasive analytical approaches while preserving the integrity of precious artworks. [Display omitted] • Portable spectroscopic techniques for in situ non-invasive analysis of binders in artworks. • Small functionalized films or gels for sampling. • Protein binders easily identified in short time. • Weak and strong points of non- vs micro-invasive protocols. • Successful application of protocol in works of art. [ABSTRACT FROM AUTHOR]

Polychromy in Ancient Greek Sculpture was the subject of the exhibition Chroma: Ancient Greek Sculpture in Color, held at The Metropolitan Museum of Art (The Met), New York, in 2022–2023. On this occasion, a multidisciplinary project involving The Met's Departments of Greek and Roman Art, Objects Conservation, Imaging, Scientific Research, and colleagues from the Liebieghaus Polychromy Research Project in Frankfurt, Germany, was carried out to study an Attic funerary monument. The color decoration of the sphinx was reconstructed by combining non-invasive and minimally invasive techniques that provided information about surviving and lost pigments, original design, and painting technique. Results of multiband imaging, digital microscopy, and X-ray fluorescence spectroscopy guided the removal of minute samples from selected areas for examination by Raman spectroscopy and scanning electron microscopy, coupled with energy-dispersive X-ray spectroscopy, to shed light on the pigments and paint stratigraphy. The color palette included two varieties of blue, Egyptian blue and azurite, a carbon-based black pigment, two reds, cinnabar and red ocher, and yellow ocher, all painted directly over the marble without a preparation layer. The scientific findings informed the physical reconstruction of the sphinx made by archaeologists from the Liebieghaus Polychromy Research Project, featured in the exhibition. [ABSTRACT FROM AUTHOR]

A bronze wine vessel attributed to 1600–1046 B.C., Shang dynasty in China, an object from the East Asian Collection of the Museum of Applied Arts and Sciences in Sydney (Australia), was studied using a non-destructive scientific analytical protocol based on the synergic combination of nuclear techniques. Gamma spectrometry, neutron-computed tomography, and proton-induced X-ray emission (PIXE) spectroscopy were applied to gain a better insight into the structural and compositional features of the artefact to prove its authenticity. Gamma spectrometry was performed to assess the risk of excessive sample activation induced by long exposure to the neutron beam and to determine the bulk elemental composition. Based on neutron-computed tomography, the porosities and the thickness of the metal wall were evaluated and found consistent with the piece-mould casting technology adopted by craftsmen during the Shang dynasty in China. Finally, PIXE spectroscopy demonstrated the use of a ternary (copper–tin-leaded) alloy and the nature of mineralisation on the surface. [ABSTRACT FROM AUTHOR]

The study presents results obtained during an extensive project dealing with the identification of forgeries of famous Czech painters from the first half of the 20th century - Josef Čapek, Emil Filla, Josef Šíma, Václav Špála and Jan Zrzavý. In art authentication, it is essential to gather enough relevant information from scientific examination of original paintings, because this helps us determine art materials used by a particular artist in a given period. The research focused on white pigments, as they are good markers of the paintings' date of origin, especially in the period between the 1920s and the 1950s. To identify the materials, we employed non-invasive molecular analysis (Raman spectroscopy) combined with elemental analysis (X-ray fluorescence spectroscopy). Using titanium white as an example, we explored the availability and import of this pigment in Czechoslovakia. Czech painters used titanium white with anatase structure rather sparingly, even though it was available on the market at the latest in 1928 and was still used in the 1950s. Rutile has been identified in two artworks from the second half of the 1960s. In addition to traditional white pigments, lead sulphate was also present in the studied artworks. This white pigment has been detected in only a few paintings, suggesting it was not very common. In the Czech milieu, lead sulphate was found exclusively in the paintings from the 1920s and the 1930s. The results obtained through this investigation provide valuable information about the use of different pigments by individual painters. They can serve as comparative data in the process of art authentication. [ABSTRACT FROM AUTHOR]

Simple Summary: Fertility a very important field for dairy farms and directly affects their economic success. Therefore, early and accurate estrus detection is crucial, particularly for farms using artificial insemination. During the last decades, several automated sensor-based technologies for estrus detection have been developed. Nevertheless, accurate estrus detection still remains a challenge. In this study, the capacity of electronic nose (EN) technology (MENT-EGAS prototype), which was based on 10 non-specified chemical metal-oxide sensors to detect estrus by the direct sampling of odor from the perineal headspace in Holstein dairy cows, was assessed. Principal component analyses (PCA) were applied and identified high discrimination between proestrus and estrus, and between estrus and metestrus in cycling cows. Additionally, high discrimination amongst estrus in cycling cows and pregnant cows was perceived. Based on these findings, we show for the first time that it is possible to recognize estrus accurately in dairy cattle by direct sampling on the perineal headspace using an EN device during milking. In the future, MENT-EGAS technology could be routinely used on dairy cattle farms as a non-invasive, accurate method for estrus detection. Estrus detection is very important for the profitability of dairy herds. Different automatic systems for estrus detection have been developed over the last decades. Our study aimed to assess the ability of the electronic nose (EN) MENT-EGAS prototype to detect estrus, based on odor release from the perineal headspace in dairy cattle by direct sampling. The study was performed in an Italian dairy farm using 35 multiparous Holstein–Friesian cows. The cows were divided into three groups: group I included 10 lactating 5-month pregnant cows, group II included 19 lactating cycling cows, and group III included 6 cows that were artificially inseminated 18 days before the trial. Odors from the perineal headspace were collected using the MENT-EGAS prototype. In group I, odors were collected once a day for 5 consecutive days. In group II, odors were collected twice daily from day 18 until day 1 of the reproductive cycle. In group III, odors were also collected twice daily from the presumable day 18 of gestation until day 22. Principal component analyses (PCA) of the perineal headspace samples were performed. PCA in group I revealed no significant discrimination. PCA in group II revealed clear discrimination between proestrus and estrus, and between estrus and metestrus but no significant discrimination was obtained between proestrus and metestrus. PCA in group III revealed that in four cows the results were similar to group I and in two cows the results were similar to group II. On day 40 of the presumable pregnancy, the ultrasound examination revealed that only the four cows were pregnant and the other two cows were regularly cycling. On the basis of our findings, we conclude that it is possible to accurately detect estrus in dairy cattle from directly collected odor samples using the MENT-EGAS prototype. This represents the first study of estrus detection using an EN detection by direct sampling. EN technologies, such as MENT-EGAS, could be applied in the future in dairy cattle farms as a precise, non-invasive method for estrus detection. [ABSTRACT FROM AUTHOR]

Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, "bismuth black" and the likely use of glass powders in lakes are discussed. [ABSTRACT FROM AUTHOR]

• A wooden Ushabti statue of Ramses II epoch analyzed. • Extraction of surface material via the EVA methodology. • Thirty main molecules on the coating identified. Analysis of the protective coating of an Egyptian wooden shabti statuette of the New Kingdom Ramesside period (XIX dynasty, probably Ramses II, ca.1279–1213 a.C.) is here reported. No less than 30 main molecules and classes of compounds were identified on the coating of the shabti such as ricinoleic acid, erucic acid, dammarolic acid, several saturated and unsaturated fatty acids and terpenoids. They mostly belong to vegetable oils, such as castor oil (and wax), rapeseed oil, cedar oil (and wood) as well as conifer resins (all of them diterpenoid acids). These data have been obtained without inflicting damage or contamination to the archeological item under investigation (as typically occurring in prior investigations using standard tools) thanks to the EVA technique, which permits to sample minute material from any surface, sufficient though for instrumental analyses. Research aims: Although previous analytical studies have been carried out at the surface of Egyptian artefacts, including the pigments utilized on objects such as coffins, statuettes and other manufacts, not much has been reported on the coatings adopted to preserve such items (especially if made of wood) from decay over the centuries. In the current study, we have adopted the EVA technique (enabling harvesting very minute surface material sufficient for instrumental analyses) for ascertaining the present of chemicals, if any. Indeed, it has been possible to identify >30 organic compounds as surface coatings on a wooden shabti statuette of the Ramses II period. Thus, our technology would seem to be a most valuable tool for analysis of any archeological artefact. [Display omitted] [ABSTRACT FROM AUTHOR]

The ink used by Volta in his scripts appears to be a very complex mixture. Our analysis of the eluates from the EVA diskettes (via GCXGC/TOFMS) has revealed the presence of more than 1800 unique metabolites. The ink thus appears to be a very complex combination of different ingredients, mainly consisting of tannins, vegetable oils and resins together with root and wood dyes. In particular, the presence of hydroxy and dihydroxyanthraquinones, as well as natural quinoids, evidenced the use of madder dyes from Rubiaceae as an important component of this ink. Natural quinoids, based on a 9, 10-anthraquinone skeleton, hydroquinone and anthrone derivatives, and even the specific marker of alizarin, indicate the use of the Rubia tinctorum. Additionally, the presence of several signals of fatty acids, saturated and unsaturated mono and dicarboxylic acids, as well as of the typical signals of Pinaceae resins substantiated the use of a vegetable oil and colophony. Several signals of cyclic monosaccharides suggested also the use of natural gum (Acacia Senegal also known as Arabic gum). It is known that Arabic gum, as well as linseed oil, were often employed as thickeners to increase the viscosity of the ink and to protect it from excess absorption of atmospheric oxygen. Curiously, we also found characteristic signals from alkaloids such as Dioncophyllin A and B, typical metabolites from tropical/exotic plants such as Triphyophyllum, Habropeltatum and Dioncophyllum. To our reckoning such an extensive array of ingredients in inks adopted over millennia has never been reported.

This study presents the results of the technical investigation carried out on several English portrait miniatures painted in the 16th and 17th century by Nicholas Hilliard and Isaac Oliver, two of the most famous limners working at the Tudor and Stuart courts. The 23 objects chosen for the analysis, spanning almost the entire career of the two artists, belong to the collections of the Victoria and Albert Museum (London) and the Fitzwilliam Museum (Cambridge). A non-invasive scientific methodology, comprising of stereo and optical microscopies, Raman microscopy, and X-ray fluorescence spectroscopy, was required for the investigation of these small-scale and fragile objects. The palettes and working techniques of the two artists were characterised, focusing in particular on the examination of flesh tones, mouths, and eyes. These findings were also compared to the information written in the treatises on miniature painting circulating during the artists’ lifetime. By identifying the materials and techniques most widely employed by the two artists, this study provides information about similarities and differences in their working methods, which can help to understand their artistic practice as well as contribute to matters of attribution.

This article concerns the diagnostic campaign aimed at analyzing the mural painting representing the iconographic theme of the Deesis of the Church of St. Maria Annunziata, Motta San Giovanni, in the province of Reggio Calabria. In 1951, a flood caused the collapse of the building and the consequent breaking of the apse into two parts. The present study focused on the left side of the apse, hosting the figures of Christ and Mary, in order to plan the best conservation intervention strategy. For this purpose, non-invasive investigations and laboratory analytical methods were conducted in order to characterize the constituent materials and to identify the forms of alteration and degradation present on the surface of the painting. In particular, Raman spectroscopy, optical microscopy, scanning electron microscopy coupled to the chemical analysis by an EDS probe, Fourier-transform infrared spectroscopy and ion chromatography were employed. The results highlighted the presence of a single layer of plaster made with a lime-based binder. The chromatic palette of the painting is characterized by ochres and carbon black mixed with lime to obtain the different shades. Finally, the definition of the nature of the deposits and of the overlaid materials was fundamental in order to identify the best products and methods to restore the readability of the work.