Sicilian Byzantine Icons through the Use of Non-Invasive Imaging Techniques and Optical Spectroscopy: The Case of the Madonna dell’Elemosina

Abstract

The iconographic heritage is one of the treasures of Byzantine art that have enriched the south of Italy, and Sicily in particular, since the early 16th century. In this work, the investigations of a Sicilian Icon of Greek-Byzantine origin, the Madonna dell’Elemosina, is reported for the first time. The study was carried out using mainly non-invasive imaging techniques (photography in reflectance and grazing visible light, UV fluorescence, infrared reflectography, radiography, and computed tomography) and spectroscopic techniques (X-ray fluorescence and infrared spectroscopy). The identification of the constituent materials provides a decisive contribution to the correct historical and artistic placement of the Icon, a treasure of the Eastern European historical community in Sicily. Some hidden details have also been highlighted. Most importantly, the information obtained enables us to define its conservation state, the presence of foreign materials, and to direct its protection and restoration.

New Insight on Medieval Painting in Sicily: The Virgin Hodegetria Panel in Monreale Cathedral (Palermo, Italy)

“…No bole preparation was found under the silver leaf, and a mission technique was supposed due to the presence of a filmforming substance that was probably applied to receive the Ag-gilding. According to the literature, the appearance of the bolus was attested in the 15th century but widespread in the 16th century [41,73]. The original Ag leaf of the frame was covered with a red tincomplexed lake and later regilded with Au leaf.…”

“…During the Middle Ages and Early Renaissance, gilding and imitation of gold leaves were widely used to cover the front and sides of wooden panels and icons [29] with the aim of expressing the immaterial divine world and the holiness of the represented figures. The metal leaf was usually applied on siccative oil film (linseed oil) or using proteinaceous substances (glue, white egg) plus other components (pigments, water, white wine) ( [22,25,29] and references therein) or on bolus [41].…”

Scanning X-ray Fluorescence Data Analysis for the Identification of Byzantine Icons’ Materials, Techniques, and State of Preservation: A Case Study

“…In addition, they were manufacturing portable icons, of which many dozens survive today [ 19 , 20 ]. Note that a growing interest in the investigation of icons’ materials and techniques has currently emerged, which is demonstrated by numerous publications [ 21 , 22 , 23 , 24 , 25 , 26 , 27 , 28 ]. In fact, the art of icon painting has been practiced in Greece since the dawn of Christianity and persisted even during the period between AD 1453 and 1830 (“post-Byzantine”) when the majority of Greek territories were under Ottoman Turk rule [ 29 , 30 ].…”