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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.

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This paper presents the results of analyses carried out on three decorative phases of the presbytery of the church of Santa Maria Antiqua al Foro Romano in Rome: the fourth‐century ad mosaics setting bed; the Adoration of the Cross, dated to the papacy of John VII (ad 705–7); and the paintings in the apse of the Pope Paul I (ad 757–68) phase. The research allowed the characterization of the painting techniques, pigments, organic compounds and degradation products by means of a video microscope, optical microscopy, and μ‐Raman and FT–IR spectroscopy, contributing to a better understanding of the changes in the techniques and materials used throughout the centuries in one of the most relevant medieval Christian monuments in Western Europe.

The present contribution focuses the attention on the mural paintings of two among the oldest Cappadocia churches, belonging to the group of “proto‐Byzantine paintings.” These materials have never been extensively investigated before and represent a starting point of paramount importance to understand the evolution of both materials and techniques during the ages in this extraordinary region of central Turkey. Specifically, among the several investigated churches and after the synergic work of art historians, conservators, and scientists, we selected the church of St. John the Baptist at Çavuşin, whose architectural structure is dated back to fifth–sixth century, and Church nr. 5 (Süslü church, sixth–ninth century) in Güllü Dere. A limited but exhaustive number of samples was carefully selected and then collected during the on‐site campaign in Cappadocia. Samples were investigated with a multianalytical approach by using cross‐section examination, X‐ray fluorescence spectroscopy (XRF), Fourier‐transform infrared (FT‐IR), and micro‐Raman spectroscopy to characterize materials, execution technique, and conservation state. The wall paintings in the church of St. John the Baptist are characterized by the presence of superimposed or adjacent layers ascribable to different historical periods, as it occurs in many of the Cappadocia churches. Their discrimination has been based on the mortar/ground layer. Pigments have been successfully identified and are mainly based on iron earths and ochres; the presence of gypsum and anhydrite, oxalates, and organic materials have been highlighted on the surface, thus suggesting alteration processes. The church nr. 5 at Güllü Dere shows a unique pictorial phase. Pigments are applied on a gypsum based ground layer and exhibit alteration patterns being made of lead based compounds, such as lead oxides and carbonates. A peculiarity of this church is the presence of anatase, detected in correspondence of red and yellow areas of the samples.

Research on Visual Computing and Cultural Heritage naturally requires the involvement of multidisciplinary teams comprising art historians and technical experts. Despite the vast literature on digital 3D models in support of Cultural Heritage, the field is so rich and diverse that specific projects often imply distinct, unique requirements which often challenge the computational technologies and suggest new research opportunities. In this paper we discuss the requirements and technical challenges within the EHEM project, an ongoing research program for the analysis, documentation, interpretation, restoration, and communication of medieval artistic heritage. We describe the three monuments that serve as test cases for the project, all of them with a rich history in terms of architecture and paintings. We discuss the art historians' view of how digital models can support their research, the expertise and technological solutions adopted so far, as well as the technical challenges in multiple areas spanning geometry and appearance acquisition, color analysis and restoration as well as the representation of the temporal transformation of the architecture and the paintings.

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

This paper summarizes the main results of the study, diagnostics, and restorations conducted and applied to a 16th century wall painting (a portion of the frieze and the Riario coat of arm) in Palazzo Gallo (Bagnaia, Viterbo district—central Italy) recently concluded, which was also the subject of a master’s degree thesis in Conservation and Restoration of Cultural Heritage at the University of Tuscia, Viterbo. Innovative imaging techniques were used for the first time on a wall painting on-site: hypercolorimetric multispectral imaging (HMI) and pulse-compression thermography (PuCT), combined with more traditional analysis such as X-ray fluorescence spectroscopy, Fourier transform infrared spectroscopy, and cross-section investigation. HMI allowed for mapping the conservation status before and after the removal of the scialbo layer that covered the original paintings. It also allowed different areas of the painting to be compared and for verifying the effectiveness of the cleaning. PuCT enabled the detection of cracks and discontinuities in the ground layers and to evaluate the depth of such anomalies, giving valuable support in the consolidation step. Moreover, passive thermography was used to monitor the penetration level of a hydraulic mortar in real time, a technique that was greatly helpful for verifying the successful fill and consolidation of voids beneath the pictorial layer. Overall, the multi-technique approach reported here was of considerable assistance for restoration of the mentioned artwork, the result of which has also been documented.