Federico Di Iorio

This study presents a workflow for the documentation and morphological analysis of curved frescoed surfaces, combining terrestrial laser scanning (TLS) with computational imaging techniques. The case study focuses on the apse of the Church of Santa Mar´ıa del Temple in Valencia (Spain), decorated in 1770 with Palladian motifs. The objective is to produce a planar and interactive representation of the surface, overcoming the operational limitations of traditional Reflectance Transformation Imaging (RTI). The methodology employs a Trimble TX6 TLS to rapidly record a high-density point cloud within minutes. The dataset is then processed using open-source software tools (CloudCompare, MeshLab, Blender, Relight) to reconstruct a detailed mesh and generate a high-resolution normal map (NM), which is transferred onto a low-poly model. A digital RTI dome consisting of 49 spotlights is built in Blender, producing a sequence of rendered images that are subsequently processed to create an easy-to-use Virtual RTI (VRTI). This approach enables the clear identification of degradation features and subtle morphological irregularities that are not easily detectable through conventional methods. The proposed workflow proves to be effective for qualitative analyses, simplifying targeted conservation interventions, especially in architecturally complex contexts where traditional techniques are unfeasible or hardly applicable. V-RTI thus represents a valuable complementary strategy for non-invasive cultural heritage (CH) diagnostics.

In the field of cultural heritage (CH), non-invasive analyses, such as photogrammetry and multiband imaging (MBI), play a pivotal role as effective solutions for examining the morphology, materials, and state of preservation of an artifact. Gathering such information is particularly valuable since these data are complementary and provide a comprehensive perspective for an in-depth study of a wide variety of historically and artistically significant artifacts. Photogrammetry and MBI are commonly utilized for these purposes but typically as separate methodologies. This research seeks to address this limitation by integrating these datasets to enrich the information embedded within a 3D model, thereby facilitating the identification of areas subsequently analyzed using spectroscopic techniques. This study provides an in-depth analysis of two historically significant violins housed at the Museo del Violino in Cremona (Italy) contributing to a more comprehensive understanding of a specific category of artifacts that remains underrepresented in the existing literature. Furthermore, the technical workflow for integrating MBI data using the Physically Based Rendering (PBR) approach and Sketchfab, along with the interpretation of the resulting data, is presented.

Recent progress in the realm of imaging technologies has swiftly disseminated fresh methodologies for representing objects, broadening the horizons for scholars such as art historians, archaeologists, conservators, and conservation scientists. Reflectance Transformation Imaging (RTI) and three-dimensional (3D) modeling via Structure from Motion (SfM) have rapidly gained popularity and are being employed by a wide range of users, expanding the possibilities for understanding objects of material cultural heritage from different perspectives. This paper explores the outcomes achieved through the application of these techniques to gain deeper insights into the surface of a bas-relief within a confined space. This methodology enhanced our understanding of the original sandstone surfaces of the bas-relief by integrating RTI and 3D visualization, thereby acquiring a novel investigative tool with enhanced illumination possibilities. A data fusion approach is proposed using photogrammetry to produce a Virtual RTI (V-RTI). In the case study reported in this paper, focusing on one inner wall of the chapel of Ellesiya at the Museo Egizio of Turin, V-RTI was employed to obtain useful surface information in a context where conventional RTI would have been impossible to achieve. Finally, the study compares the different techniques through direct qualitative and quantitative analysis, highlighting possible future developments from both instrumental and methodological points of view.

Artifacts pertaining to Buddhist culture are often studied in relation to their circulation from India throughout the rest of Asia; however, many traveled to Europe during the last few centuries as trade commodities and pieces for the art market, losing any devotional purpose in favor of a specific aesthetic sensitivity that was typically adapted to Western taste to appeal to collectors. This article presents a technical study of seven polychrome wooden sculptures from the Museo d’Arte Orientale (MAO) in Turin, Italy. Originally from China, these objects are generally attributed to the late Ming–early Qing dynasties (16th–18th centuries) based merely on stylistic and iconographic considerations. Scientific analysis sought to expand the available knowledge on their constituting materials and fabrication techniques, to address questions on their authenticity, to assess their state of preservation, and to trace the history of transformations they have undergone while transitioning from devotional objects to private collection and museum artwork. By delving into the sculptures’ intricate paint stratigraphy, the results were also key to guiding treatment choices. The outcomes of this study were featured in the MAO exhibition “Buddha10. A Fragmented Display on Buddhist Visual Evolution” (October 2022–September 2023).

The study and conservation of a painting by Wasily Kandinsky, titled Spitz‐Rund and dated to 1925, was carried out at the Centro per la Conservazione ed il Restauro dei Beni Culturali “La Venaria Reale” 2018 and 2021. This work, owned by the Galleria d'Arte Moderna e Contemporanea of Bergamo (GAMeC), was created with oil paints on cardboard, and later glued onto a wooden support. A first phase of the project entailed a thorough scientific investigation of the artist's materials and techniques by means of a multi‐analytical approach, including both non‐invasive and micro‐invasive techniques. The present contribution discusses some of the most relevant results obtained from scientific analyses on Kandinsky's masterpiece. The painting stratigraphy and colour palette were investigated using multispectral imaging, spot XRF and in situ Raman analyses. Micro‐samples were also taken and analysed with FTIR spectroscopy, Py‐GC/MS, optical microscopy and SEM–EDX. Additional investigations using MA‐XRF provided further insight into the distribution of various chemical elements, proving essential to deepen our knowledge of the painting and to integrate the information obtained from other analytical techniques. The study highlighted several similarities between Spitz‐Rund and other Kandinsky's artworks and made it possible to gain a broader understanding of the artist's technique during the Bauhaus period (1922–1933).