This paper provides the results of a 3D photogrammetric survey of the apsidal conch of St. Panfilo Church in Tornimparte (L’Aquila, Italy). The images were acquired and then processed in order to obtain a three-dimensional model available on Sketchfab platform. The five panels and the vault of the apsidal conch were exported from the 3D model as orthomosaics and then imported into CAD software for the mapping of the main degradation phenomena. The examined surface was almost entirely covered by mural painting and restoring mortars, the latter mainly located in the lower part of the apsidal conch. The whole surface of the apsidal conch was also examined by means of raking light that enabled highlighting of conservation problems and the presence of incision marks and giornata/pontate boundaries indicating the use of the fresco painting technique. Several degradation phenomena, attributable both to the executive technique of wall painting and the microclimate conditions, could be observed. According to the overlapping of weathering forms and the material involved, most of the examined surfaces exhibited moderate to very severe degradation.
We present some results, obtained using a multi-scale approach, based on the employment of different and complementary techniques, i.e., Optical Microscopy (OM), Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM-EDS), X-ray diffraction (XRD), Raman and µ-Raman spectroscopy, Fourier transform infrared (FT-IR) spectroscopy equipped with Attenuated Total Reflectance (ATR) analyses, Inductively Coupled Plasma–Mass Spectrometry (ICP-MS), and Thermal Ionization Mass Spectrometry (TIMS), of an integrated activity focused on the characterization of micro-fragments of original and previously restored paintings of the pictorial cycle at the San Panfilo Church in Tornimparte, sampled from specific areas of interest. The study was aimed, on one hand, at the identification of the overlapping restoration materials used during previous conservation interventions (documented and not), and, on the other hand, at understanding the degradation phenomena (current or previous) of the painted surfaces and the architectural structures. The study of stratigraphy allowed us to evaluate the number of layers and the materials (pigments, minerals, and varnishes) present in each layer. As the main result, the identification of blue, black, yellow, and red pigments (both ancient and modern) was achieved. In the case of blue pigments, original (azurite and lazurite) and retouching (Prussian blue and phthalo blue) materials were recognized, together with alteration products (malachite and atacamite). Traces of yellow ochre were found in the yellow areas, and carbon black in the blue and brown areas. In the latter, hematite and red ochre pigments were also recognized. The obtained results are crucial to support the methodological choices during the restoration intervention of the site, and help to ensure the compatibility principles of the materials on which a correct conservative approach is based.
This paper reports the investigation of six microsamples collected from the vault of the San Panfilo Church in Tornimparte (AQ). The aim was to detect the composition of the pigments and protective/varnishes, and to investigate the executive technique, the conservation state, and the evidence of the restoration works carried out in the past. Six microsamples were analyzed by optical microscopy, scanning electron microscopy coupled with energy-dispersive spectroscopy (EDS), X-ray fluorescence (XRF), and infrared and Raman spectroscopy. The investigations were carried out within the framework of the Tornimparte project “Archeometric investigation of the pictorial cycle of Saturnino Gatti in Tornimparte (AQ, Italy)” sponsored in 2021 by the Italian Association of Archeometry (AIAr).
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