Isis Verona Nascimento da Silva Franzi

Over the past 5 years, computer applications have become crucial to archeological research. Since the 1990s, the focus has transitioned from data management tools to the development of virtual models. Recently, digital documentation of cultural heritage has gained considerable focus, with 3D modeling of objects. The rendering and integration of images from micro‐CT (Micro Computed Tomography) and XRF mapping techniques are essential for analyzing artworks and cultural heritage. Micro‐CT provides detailed internal views of objects with high resolution, allowing examination without damage. Meanwhile, XRF mapping analyzes the surface composition of artworks, identifying materials and pigments. Combined, these methods deliver a thorough understanding of the structure and composition of cultural artifacts. However, these techniques are typically applied independently, and there is still a lack of integrated frameworks that enable the correlation of structural and compositional data within a unified 3D environment. This article investigates the fusion of 3D imaging techniques through an open‐source software package to create a comprehensive multimodal visualization that integrates micro‐CT and XRF mapping. The proposed methodology facilitates the automatic registration of surface scans and interactive visualization of aligned 3D images. The study integrates XRF mapping and micro‐CT data to analyze cultural heritage artifacts, employing the Micro‐XRF M4 Tornado (Bruker) and Crono (Bruker) for elemental mapping and micro‐CT was conducted using the Phoenix VTomex system, and the data was reconstructed using the Datos Reconstruction software. Image rendering utilized a Blender plugin to integrate 3D imaging modalities, combining CT data with surface scan data. Beyond the individual capabilities of each technique, the integration of micro‐CT and XRF plays a fundamental role in the analysis of wooden cultural artifacts. This combined approach enables the identification of pictorial materials and supports inferences regarding their provenance, while also contributing to the understanding of manufacturing processes, including carving techniques, preparation layers, and later interventions. The correlation between structural and compositional information enhances the interpretative potential in cultural archeology and provides more robust support for conservation and restoration strategies.

Portable X‐ray computed tomography (portable CT) has become an important tool for the non‐destructive investigation of cultural heritage objects, particularly when in situ analysis is required. This work presents the experimental characterization and application of a transportable cone‐beam CT system designed for the inspection of large and heterogeneous wooden sculptures. The system performance was assessed through a comprehensive evaluation of the incident X‐ray spectrum, focal spot size, angular dose distribution, spatial resolution, and detail detectability, following established standards for tomographic system characterization. Spatial resolution and detectability were evaluated using a polymeric test pattern with cavities of varying diameters, while system performance under real inspection conditions was validated through the tomographic analysis of three carved wooden artworks with distinct construction techniques and material features. The results demonstrate that the combination of a hardened X‐ray spectrum, controlled dose distribution, and adequate focal spot size provides stable projections and reliable reconstructions of thick wooden volumes. Tomographic analyses enabled the identification of internal cavities, structural discontinuities, and high‐density elements related to fastening and restoration materials, confirming the suitability of the system for the non‐invasive inspection of cultural heritage objects. The proposed portable CT system offers a robust and flexible approach for in situ examination, supporting the conservation, restoration, and historical interpretation of wooden artworks.

The present research integrates microcomputed tomography (micro‐CT), x‐ray fluorescence, and gamma‐ray transmission to quantitatively characterize wood species. A total of 22 samples from seven species were analyzed for density ( ρ ), linear attenuation coefficient ( μ ), Compton scattering, micro‐CT gray values (GV), porosity, mass attenuation coefficient ( μ _m ), and the Compton–Rayleigh ratio ( R / C ). Strong linear correlations were observed between density and μ ( R ² = 0.990), density and Compton scattering ( R ² = 0.969), and density and GV ( R ² = 0.993), with Pearson coefficients ranging from −0.996 to −0.982 and from 0.974 to 0.995. Principal component analysis (PCA) reduced the seven variables into two components, which accounted for 86.56% of the variance, and successfully clustered the species into three groups based on their density, porosity, and attenuation characteristics. These findings underscore the potential of integrated spectrometric and imaging techniques for nondestructive wood differentiation, offering significant benefits for cultural heritage preservation.

This study analyzes an 18th/19th-century crucifix from the sacristy of the Church of Santa Luzia, Rio de Janeiro, through X-Ray Fluorescence (XRF) and Digital Radiography (DR). The investigation aimed to identify the elemental composition of pigments and assess the structural condition of the sculpture. XRF revealed elements such as calcium, lead, and mercury, indicating historical pigments like calcium carbonate, lead white, and vermilion. The presence of lithopone and phthalocyanine materials introduced in the late 19th century suggests later repainting. DR imaging exposed structural issues including flaking, cracks, and hidden metallic components such as the halo, titulus crucis, and nails. Internal features like joints and fixations were also identified, enhancing understanding of fabrication and conservation needs. The results demonstrate the relevance of atomic techniques for cultural heritage preservation, providing essential data for conservation planning. The artwork belongs to the collection of IPHAN (Brazilian National Institute of Historic and Artistic Heritage).

This study presents a detailed analysis of the sculpture of Saint Eligius, located in the Church of Santa Luzia, in Rio de Janeiro. Due to its formal and stylistic characteristics, it can be inferred that the piece is an 18th‐century example of Portuguese origin. Using non‐invasive analytical techniques such as x‐ray fluorescence (XRF), Digital Radiography (DR), and computed tomography (CT), the objective was to determine the elemental composition of the pigments used and to evaluate the structural integrity of the piece. The XRF analysis revealed the presence of several elements, indicating the use of possible pigments such as lead white, vermilion, and various ochres. The presence of mercury, detected in intense XRF peaks, suggests the use of vermilion pigment, while lead peaks indicate the use of lead white mixed with other pigments. The detection of lithopone and phthalocyanine pigments, which began to be used in the late 19th and early 20th centuries, supports the idea that the piece underwent restoration interventions. The XRF analysis of the sculpture identified both the original pigments and those used in later restorations. DR and CT allowed the visualization of structural defects, material wear, fractures, joints, and internal adornments, in addition to confirming the presence and integrity of metallic components such as nails and tacks used to secure the piece to its base and to join its structural components. These findings provide a comprehensive understanding of the materials and techniques used in the creation and maintenance of the sculpture, contributing to the historical context and supporting the authenticity of the sacred artwork.

The Eva Klabin House Museum (MCEK) in Rio de Janeiro houses ancient artifacts of significant cultural value. This study employed X-Ray fluorescence (XRF) to analyze four pieces: three Greek ceramics and an Iberian amphora. Analyses were conducted in situ with a portable Bruker Tracer III device (rhodium target, 40 kV, 35 µA, 60-second acquisition time). In the Iberian amphora, calcium (Ca), iron (Fe), and lead (Pb) were detected. The high Ca content suggests prolonged submersion encrustations, while the predominant Fe indicates iron-rich clay. Among the Greek ceramics, the situla contained Ca, Fe, and cobalt (Co), with Co raising concerns about potential later pictorial interventions or forgery. The Archaic Greek vase and the smaller vase showed similar compositions, dominated by Fe and Ca, suggesting the use of iron oxide pigments and possible calcite or gypsum in the clay. Trace elements such as manganese, zinc, and strontium provided additional insights into clay origin and production techniques. The results highlight the need for complementary analytical methods. These methods would help determine clay sources, pigments, and manufacturing processes more precisely, while underscoring the importance of non-destructive analysis for preserving museum collections.

This study utilizes non‐destructive techniques, including X‐ray fluorescence (XRF) and X‐ray imaging, to analyze and compare four sacred wooden sculptures of Our Lady of Conception, crafted during the 18th and 19th centuries. The primary aim is to assess their overall condition, construction methods, and materials, including the pigments employed in their creation. XRF analysis detected elements that allowed the inference of pigments used across all sculptures, uncovering variations in elemental composition and intensity. These findings offer new perspectives on the artists' palettes, historical contexts, and potential origins of the pieces. X‐ray imaging, including computed microtomography, uncovered intricate manufacturing details, such as wood cracks, nails, restored sections, and variations in eye construction techniques. The integration of XRF and imaging results offered a comprehensive understanding of these sculptures, highlighting both their shared iconographic themes and distinct craftsmanship. These results not only advance the understanding of Baroque artistic practices but also provide a framework for future preservation efforts of similar artifacts.

This study investigates the origin and impact of spectral interferences associated with the Bruker Tracer III portable X-ray fluorescence (pXRF) spectrometer, used by the authors for elemental characterization of cultural heritage objects. Systematic analyses were conducted on reference materials and on the sculpture Head of Apollo from the Eva Klabin House Museum, Rio de Janeiro, facilitating the detection of instrumental peaks and improving the accuracy of qualitative analyses by minimizing instrument-derived interferences. Measurements were carried out under controlled conditions, both with and without the spectrometer’s radiation protection shield, using fixed operational parameters (40 kV, 35 μA and 60 s). The resulting spectra revealed peaks attributable to the instrument’s structural components. With the shield in place, elements such as Ca, Ti, Fe, Ni, Cu, Zn, and Pb were detected. In the absence of the shield, the peaks corresponding to Ca, Zn, and Pb were suppressed, although interferences from the remaining elements persisted.

The artworks of the Archdiocesan Museum of Sacred Art of Rio de Janeiro (MAAS‐RJ) are distinguished for their combination of Luso‐Brazilian Sacred Arts and dedication to historical heritage preservation. An in situ analysis using x‐ray fluorescence (XRF) was conducted on five pieces from the collection, including Our Lady of the Expectation, Our Lady of Lapa, Our Lady of Penha de France, Saint Sebastian, and the Glory of the Divine. The analysis employed the portable Bruker Tracer‐III‐SD equipment, which features a Rhodium‐target x‐ray tube and a Silicon detector. Spectra were obtained with the device set at 40 kV and 35 μA, with a 60‐s exposure time. The multi‐element analysis identified the elements present in the pictorial layers, allowing the identification of pigments used in the original polychromes and repaints. The data revealed a diverse composition of pigments across the original, repainted, and polychrome regions. Elements indicative of pigments applied after the creation of the works, consistent with restoration and interventions, were detected. The XRF analysis confirmed the use of gilding techniques in some sculptures, such as Our Lady of the Expectation and the Glory of the Divine. The sculpture of Our Lady of Penha de France exhibited gilding techniques with sgraffito. This study provided the elemental composition of the examined sacred artworks, suggesting potential pigments regardless of their preservation conditions.