Based on the established directives and principles of the conservation sector, restoration work is accompanied by diagnostics on the various works and artefacts, which also supports the university and advanced training programmes.

Prior to any works, non-invasive imaging investigations are carried out to obtain an in-depth view of the state of conservation and the techniques used in the works. Subsequent diagnostics, which include non-invasive investigations on micro-samples, complete the analysis of the works and define the strategies for the restoration work.

In more complex cases, restoration work is accompanied by experiments on products and intervention methods, in addition to studies conducted as part of degree theses.

ir uv
Imaging diagnostics
Preparatory sketch of the "School of Athens", Raffaello Sanzio
Pinacoteca Ambrosiana, Milan

Imaging investigations at various wavelengths (multispectral imaging) are carried out in the photographic laboratory, allowing the centre to document the responses of different materials to different wavelengths (visible, ultraviolet, infrared). A special mosaic imaging technique is used on some works, capable of producing images of such high resolution that they can be enlarged to highlight details invisible to the naked eye.

Digital radiography
Venanzio Zolla
Eda Doris

The Centro’s radio-tomography equipment produces digital radiographic images of very large works. These images allow the Centro to assess the techniques used and the state of conservation of a work, as well as the presence of earlier paintings underneath the currently visible surface.

bernardino
Characterisation of materials
Painted wood panels, Bernardino de' Conti
Museo del Territorio, Biella

The painting material taken from the works of art is incorporated into resin and prepared so that the succession of layers can be observed.

The observations are conducted using an optical microscope in visible light and UV fluorescent light, while the scanning electron microscope is used to document the layers at higher magnifications and analyses are carried out on the chemical composition.

3D relief
Cappella di Sant'Uberto, Filippo Juvarra
Reggia di Venaria Reale

The 3D relief is made using a laser scanner and photogrammetry and provides a three-dimensional graphic base for thematic mapping, both for rooms and for artefacts. Using the relief it is also possible to virtually recreate scenarios that can then be used for an immersive experience.

Pietro Piffetti
Scrivania da centro, 1741
Venezia, Musei Civici- Museo del settecento veneziano Ca’ Rezzonico

I laboratori scientifici del Centro hanno definito negli anni un protocollo di analisi non invasive per lo studio dei materiali costituivi e per mappare le strutture dell’ebanisteria piemontese. Attraverso la spettrometria XRF è possibile indagare i materiali presenti sulle complesse superfici dei mobili intarsiati.

E’ possibile anche approfondire lo studio della storia conservativa dell’opera confrontando i risultati tra parti originali e parti restaurate o rifatte. Nel caso della scrivania è stata analizzata la tartaruga inserita nel medaglione della base del piano della scrivania, dove è inserita la placca in avorio inciso con la firma dell’ebanista e la data 1741.

Le analisi hanno permesso di comprendere la tecnica utilizzata da Piffetti per la lavorazione della tartaruga, alla quale veniva incollata sul retro una carta pigmentata o del bronzo (in foglie o in polvere) per rafforzare l'effetto cromatico e la brillantezza del materiale.

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