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This paper presents the results of analyses carried out on the paintings on the rock‐hewn walls of the Forty Martyrs church at Şahinefendi in Cappadocia (a UNESCO World Heritage Site), a central region of Turkey, performed during conservation work from 2007 to 2012. The micro‐samples were investigated by spectroscopic, micro‐stratigraphic and scanning electron microscopy analysis in order to study the painting technique, the materials and the degradation products. The micro‐stratigraphic analysis showed a white, sometimes pinkish, plaster. Micro‐Raman analysis, performed on cross‐sections of the mortars, enabled the detection of calcite, gypsum, anhydrite and calcium oxalate. Scanning electron microscopy and energy‐dispersive spectroscopy revealed a similar composition among all investigated phases, aside from minor differences such as the presence of diatoms in the second and third phases and of biotite, lime lumps and plants fragments in the fourth one. Apart from traditional pigments of medieval wall paintings, micro‐Raman analysis revealed the presence of lead‐based compounds and jarosite.

The rupestrian settlements in Cappadocia are well known for their richness and very articulated shapes, but, at the same time, they are a clear sample of Patrimony at risk, the assets of Cappadocia today appears intended for a broad loss, in certain parts the rupestrian monuments are well preserved, in other parts they are abandoned or overloaded by admiring tourists, this whole patrimony appears only partially preservable, and therefore it is even more exceptional in its very late phase.Most of the rupestrian churches in Cappadocia has mural paintings which survived to centuries of improper usages and abandon, environmental menaces, vandals, some of these churches are quite simple but others are connected to very complex architectural systems and they still represent the meaning of that places at the time of their construction.This research it's part of the result of the 2012 campaign of the Tuscia University research mission "Rock painting in Cappadocia. For a project of knowledge, conservation and enhancement" 2012 and of an actual PRIN (Italian National Relevance Research Projects), this paper it's aimed to two very meaningful examples of these rupestrian conditions, the St. Eustache church and the Meryemana church, both located in the Göreme area, out of the Open Air Museum, they are two interesting cases testifying the specific condition of this patrimony for which a documentation, investigation, preservation and valorization project is under development.The first "on the field" common activities between the UNIFI and 81,786 XQLWV WRRN SODFH LQ WKH ODUJH DUHD DW WKH EDFN RI WKH 7RNDOÕ Kilise, starting from the front of this meaningful monument. In this first meaningful collaboration the creation of 3D digital models, starting from an accurate digital survey, is aimed to display the paintings in the excavated churches that host them, allowing a deeper and clearer knowledge of the rupestrian habitat in all its components. It will be also very useful for the realization of innovative instruments of fruition, suitable for a presentation of the rock monuments and pictorial decorations, in a scientifically correct way and diversified according to different communication levels: virtual

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Cette recherche sur les techniques mises en oeuvre pour réaliser les peintures du tombeau d’Elbeyli à Iznik combine à la fois les observations faites à l’oeil nu, au cours de la campagne de relevés et de restauration de la mission franco-turque dirigée par A. Barbet, et les analyses en laboratoire de la mission italienne conduite par M. Andaloro. La combinaison des deux démarches se confortent. Nous avons pu prouver que la technique est celle de la fresque, avec un travail préparatoire soigné où tous les procédés connus sont employés, la gamme des couleurs est habituelle et le recours à deux peintres est usuel pour l’époque romaine. L’intérêt de cette approche est d’espérer banaliser ce type de recherches ailleurs et ainsi de disposer, à l’avenir, de points d’ancrage pour tracer une évolution de l’art de peindre, de l’Antiquité au Moyen Âge, et éventuellement de déceler les étapes essentielles de cette évolution, culturelle et technique.