Papers by Marta Raïch
Multi-band technical imaging (MBTI) is widely used as an established method for art examination. ... more Multi-band technical imaging (MBTI) is widely used as an established method for art examination. Although the diverse techniques that are employed have their own specific importance, if the many results in experimental hybrid images are confronted with one another they provide much more information. The main objective of this paper is to show the usefulness of the technique for a holistic understanding of a portrait of the King Carlos IV. More specifically, MBTI is intended to help in the reconstruction of the artist's painting process, by revealing physical traces of the creation and execution of the portrait (ductus and brushstrokes, alterations, underdrawing and staining, pictorial composition process, changes and Pentimenti, inpaintings, pigment identification, etc.). For this case study, such information is necessary to delve into the painter's work process, revealing some characteristics that make it unique, finally allowing the proper identification and attribution of the portrait.
Ge-conservación, 2018
espanolMulti-band technical imaging (MBTI) is widely used as an established method for art examin... more espanolMulti-band technical imaging (MBTI) is widely used as an established method for art examination. Although the diverse techniques that are employed have their own specific importance, if the many results in experimental hybrid images are confronted with one another they provide much more information. The main objective of this paper is to show the usefulness of the technique for a holistic understanding of a portrait of the King Carlos IV. More specifically, MBTI is intended to help in the reconstruction of the artist’s painting process, by revealing physical traces of the creation and execution of the portrait (ductus and brushstrokes, alterations, underdrawing and staining, pictorial composition process, changes and Pentimenti, inpaintings, pigment identification, etc.). For this case study, such information is necessary to delve into the painter’s work process, revealing some characteristics that make it unique, finally allowing the proper identification and attribution of ...
Accademia Nazionale di San Luca - Quaderni degli Atti 2019-2020, 2021
According to Vasari, Raphael should be the author of the version
of St. John the Baptist in the D... more According to Vasari, Raphael should be the author of the version
of St. John the Baptist in the Desert. today in the Uffizi
museum. Different versions of the same subject are here compared
on the basis of non invasive diagnostic analyses. The
underdrawing, investigated with IRR, shows some common
features to the panel held in the National Gallery in Bologna,
the one in the Liechtenstein Museum in Vienna, and an unpublished
version in a private collection. It demonstrates the
presence of a common cartoon for all versions. This lead to a
better understanding of the activity at Raphael’s workshop in
Rome during his last years of production. Whereas the project
drawing held in Gabinetto degli Uffizi is by Raphael, the correspondent
cartoon must be ascribed to Giulio Romano. The
latter is supposed to be the author of the above-mentioned
paintings held in Vienna and in a private collection.
Paola Artoni, Miquel Herrero-Cortell, Paolo Bertelli, Marta Raïch, Giulio Romano nella bottega di Raffaello: l’underdrawing come traccia per la fortuna del San Giovannino nel deserto, «Accademia Nazionale di San Luca - Quaderni degli Atti 2019-2020», 2021, pp. 59-66
Accademia Nazionale di San Luca - Quaderni degli Atti 2019-2020, 2021
The Troy apartment in the Ducal Palace in Mantua was commissioned
by Federico the II Gonzaga to G... more The Troy apartment in the Ducal Palace in Mantua was commissioned
by Federico the II Gonzaga to Giulio Romano, who
completed it in 1536-1539; the Apartment is an important exemplum
in understanding how Pippi’s laboratory worked. Its wall
paintings have been investigated with non-invasive diagnostic
methods by an équipe of international scholars in order to understand
the different procedures and the kind of work used in
the sections of the apartment. The data collected and the study
of the materials confirm that Giulio Romano prolonged the
tradition of his maestro by arranging his worksite according to
what he had learnt in Raphael’s laboratory in Rome. The analysis
unveiled the different phases of the genesis of the wall painting,
from the traditional fresco – used in the hall of Troy, where
some relevant ongoing changes have been detected – to the
Winged Victories, which were dry-painted probably by Giulio
Romano himself.
Paolo Bertelli, Paola Artoni, Miquel Herrero-Cortell, Marta Raïch, Isidro Puig, «Con ricetti riccamente ornati»: le tecniche artistiche di Giulio Romano nell’appartamento di Troia del Palazzo Ducale di Mantova, «Accademia Nazionale di San Luca - Quaderni degli Atti 2019-2020», 2021, pp. 67-74
Ge-conservacion
El presente artículo propone una prueba de concepto para la observación mediante técnicas de imag... more El presente artículo propone una prueba de concepto para la observación mediante técnicas de imagen multibanda de 63 pigmentos de referencia histórica (usados desde la Antigüedad hasta el siglo XX). La respuesta de estos pigmentos se ha documentado en varios puntos de espectro mediante la construcción de sus imágenes, por reflexión, transmisión, luminiscencia y falso color, desde el visible (VIS) hacia sus dos extremos, ultravioleta (UV) e infrarrojo (IR), completando además el estudio con la imagen radiográfica (RX). Cada pigmento responde de manera diferente en cada una de las técnicas usadas, en función de su comportamiento espectral, lo que genera un patrón de conducta único para cada materia. El conjunto de técnicas utilizadas conforma una metodología que plantea 11 posibles formas de ver, entendiéndolas de manera aislada, si bien es en la lectura transversal y confrontación de todas ellas donde se alcanzan unos resultados más completos, a través de un método inductivo basado e...
Colore e Colorimetria. Contributi multidisciplinari", Atti della Quindicesima Conferenza del Colore, XVA, a cura di A. Bottoli e V. Marchiafava, 2019
Ge-conservacion, 2021
El presente artículo versa sobre el uso de la fotografía infrarroja transmitida (IRT), una técnic... more El presente artículo versa sobre el uso de la fotografía infrarroja transmitida (IRT), una técnica todavía muy desconocida, pese a que paradójicamente aporta una información fundamental en el estudio y documentación de las pinturas sobre lienzo. A diferencia de la fotografía infrarroja (IR), esta técnica opera por transmisión y no por reflexión, por lo ofrece imágenes transversales de todos los estratos de la obra. Fundamentalmente arroja evidencias sobre el diseño y la composición, visibilizando sus cambios; el método de ejecución empleado; pesquisas sobre los materiales; y evidencias del estado de conservación, pudiendo considerarse una de las técnicas más ricas de imagen multi-banda; procedimiento que además puede realizarse con escasa inversión. El objetivo de este artículo es darla a conocer para fomentar su uso entre conservadores e investigadores, así como mostrar ejemplos de sus aportaciones, ofreciendo claves de lectura para su correcta interpretación.
The aim of this paper is to evaluate the behavior of 50 historical pigments in the two spectrum r... more The aim of this paper is to evaluate the behavior of 50 historical pigments in the two spectrum ranges VIS and IR, by using transmitted light. For this study, pigments were bound with oil and were applied in several layers over underlying lines, drawn with different media. The purpose of this study was to evaluate the behavior of pigments in the two spectrum ranges, comparing visible and infrared photographs with the respective images taken with transmitted light. The main idea is to compare the optical properties of each pigment in visible (VIS), transmitted light (TL), infrared (IR) and infrared transmitted (IRT). This was achieved by assessing visible and infrared photographs in incident and in transmitted light. The ultimate goal is to understand aspects such as transparency and opacity as well as the ability to block light. Finally, the intention is to classify the pigments by their behavior noting their similarities and differences, considering the aforementioned factors. Sinc...
Ge-conservacion, 2018
La imagen técnica multi-banda (MBTI) es ampliamente utilizada como un método eficaz para el exame... more La imagen técnica multi-banda (MBTI) es ampliamente utilizada como un método eficaz para el examen de obras de arte. Aunque las diversas técnicas que lo conforman tienen una entidad propia, cuando se usan juntas proporcionan mucha más información al confrontar los diversos resultados. El objetivo principal de este trabajo es mostrar su uso en comprensión material, procedimental y creativa de un retrato del Rey Carlos IV. Más específicamente, la imagen técnica multi-banda se ha utilizado aquí para ayudar en la reconstrucción del proceso pictórico, al revelar datos relacionados con la creación y ejecución del cuadro (ductus y pinceladas, alteraciones, dibujo subyacente y primer manchado, composición pictórica, cambios y arrepentimientos, repintes, identificación de pigmentos, etc.). En este caso de estudio, dicha información sirve para profundizar en el proceso de trabajo del pintor, revelando algunas características que lo hacen único, y permitiendo finalmente la correcta identificac...
... La Fisiologia dei colori di Filippo Lussana nella storia delle sinestesie 270 Dina Riccò ... ... more ... La Fisiologia dei colori di Filippo Lussana nella storia delle sinestesie 270 Dina Riccò ... Che cosa ci insegnano gli artisti 379 Giusy Petruzzelli Traduzioni cromatiche: problemi di leggibilità e percezione 386 Maria Linda Falcidieno, Luisa Cogorno Page 9. ...
Ge-conservacion, 2021
El presente artículo versa sobre el uso de la fotografía infrarroja transmitida (IRT), una técnic... more El presente artículo versa sobre el uso de la fotografía infrarroja transmitida (IRT), una técnica todavía muy desconocida, pese a que paradójicamente aporta una información fundamental en el estudio y documentación de las pinturas sobre lienzo. A diferencia de la fotografía infrarroja (IR), esta técnica opera por transmisión y no por reflexión, por lo ofrece imágenes transversales de todos los estratos de la obra. Fundamentalmente arroja evidencias sobre el diseño y la composición, visibilizando sus cambios; el método de ejecución empleado; pesquisas sobre los materiales; y evidencias del estado de conservación, pudiendo considerarse una de las técnicas más ricas de imagen multi-banda; procedimiento que además puede realizarse con escasa inversión. El objetivo de este artículo es darla a conocer para fomentar su uso entre conservadores e investigadores, así como mostrar ejemplos de sus aportaciones, ofreciendo claves de lectura para su correcta interpretación.
Universo Barroco Iberoamericano, 2019
Esta investigación se ocupa de los principales métodos y procedimientos para la copia fuera del e... more Esta investigación se ocupa de los principales métodos y procedimientos para la copia fuera del entorno u obrador de Bartolomé E. Murillo. Los cuales se han estudiado a través de las evidencias procesuales en las copias pictóricas sevillanas, examinadas en los últimos años en el Centre d’Art d’Època Moderna (CAEM) de la Universitat de Lleida, y su cotejo con fuentes documentales halladas en el Archivo General del Arzobispado de Sevilla. Las nuevas técnicas de imagen digital son ampliamente utilizadas para documentar y examinar pinturas. Este trabajo se centra en las técnicas del rango infrarrojo para revelar datos relacionados con la creación y ejecución del cuadro (ductus y pinceladas, alteraciones, dibujo subyacente y primer manchado, composición pictórica, cambios y arrepentimientos, repintes, identificación de pigmentos, etc.).
Colore e Colorimetria. Contributi Multidisciplinari. Atti della Quindicesima Conferenza del Colore, a cura di A. Bottoli e V. Marchiafava, 2019
Art historians, conservators and restorers, have traditionally shown interest in knowingthe natur... more Art historians, conservators and restorers, have traditionally shown interest in knowingthe nature of the pigments of the art works they study. On the one hand, they areespecially interested in knowing how artworks are made. They search the presence ofcertain materials with purposes of expertise (to propose attributions or just toestimate their age). On the other hand, in the field of conservation there are otherinterests that prevail: to identify the pigments and their composition canhelp to guessthe possible problems that a piece may have, or it can serve to choose the propersolutions for such pathologies. However, when studying paintings, both kinds ofprofessionals have to deal with limitations. Neither is always possible to co-work withchemicals or physicals –who can led the identification of materials with XRF, RAMAN,spectrometers or other instruments–, nor they have budget or resources to carry outsuch analysis. Instead, both art historians and conservators work frequently with thephoto camera, which, at least, could help in some way to identify pigments. In the lastyears, several studies dealing with multiband imaging applied to works of art haveachieved successfully results with that purpose (Herrero et al. 2018: 5-15); (Cosentino2014: 2-12). Multiband analysis consists of series of images in different regions of thespectrum. A full spectrum camera is commonly used as main device due to itspossibilities to work within the UV range and also within the IR (300-1100nm). Themultiband analysis (MBTI) consists of a series of photographs, UVR, UVF, VIS, IR, IRR,IRF, IRFC, and, excluding the IRR, all the rest are done with that same device.
24Even ifthe diverse techniques which MBTI comprises have their own independent value,(specially IRFC), when they are used together they provide much more information, bycomparing the many results. (Poldi; Villa, 2006: 127-137); (Cosentino 2014; 2016: 4-5)This study proposes the observation of the behaviour of 20 historical pigments anddyes throughout the spectrum, in the different images of MBTI. Some have been usedsince Antiquity, and others incorporated progressively on the palette of painters, untilthe 18th century. They have been bound with oil, painted on a surface prepared withchalk-glue ground, similar to traditional preparation. They all have been previouslycharacterized with RAMAN. Then, they have been imaged in VIS, IR and UV ranges. Inorder to calibrate colours a modified AIC target has been used (Cosentino 2014: 3).Although the system can not be considered precise, (and should be backed with somephysical or chemical analysis before extracting definitive conclusions) it can help, at least to a first approach. It is a very economical, visual-based, non-invasive fast system.It serves to check the presence of some materials (in some cases, the system proves tobe almost infallible). Hence, with very basic equipment, interesting results for arthistorians and conservators can be obtained.
Colore e Colorimetria. Contributi multidisciplinari", Atti della Quindicesima Conferenza del Colore, XVA, a cura di A. Bottoli e V. Marchiafava, 2019
In the diagnostic study of pictorial artworks it is very common to use basic technic... more In the diagnostic study of pictorial artworks it is very common to use basic technicalphotographs (TP) to observe the pictorial surface and the possible alterations thataffect the works of art. When dealing with paintings on canvas, in addition to visiblephotography (VIS), racking light imaging (RL) and transmitted light photography (TL)are usually added. These techniques are used especially by the restorers, because theyallow them to evaluate the state of the pictorial layer, (cracks, cupping, tenting, paintlooses and other alterations in the support are easily recognized with that imagingproofs. In addition to TL the IRT is commonly used. It is an infrared photograph,captured around 1100nm made with the characteristic TL retro-lighting conditions.However, these are techniques to which art historians and researchers in paintingstake little advantage beyond a conservative scope, since there are very fewpublications in which, further than explaining this type of imaging there is also anexplanation on how to interpret these results, and what kind of precise conclusionsthey can offer.TL and IRT images can, in addition to provide allusive information to the state ofconservation, give some clues about the pictorial execution process. They allow theobservation of brushstrokes, their thickness, their ability to block light, while they alsopermit to observe hidden elements, pentimenti and other modifications. Furthermore,when the two types of transmitted light techniques are performed together and theresults are compared, important differences in pigment behavior can be appreciated,as they are images obtained in two or different regions of the spectrum.This article proposes an essay for the observation through both TL and IRT of thebehavior of 63 historical pigments and lacquers, (some of them produced by KREMERor SENNELIER and others handcrafted by authors by following historical recipes.) All ofthem have been bound with oil, applied on a prepared cloth with a coat of a gessoground (animal sizewith carbonate and calcium's sulfate). The area where eachpigment has been painted, is divided in four stripes: one to four layers of pigment havebeen applied there, depending on the stripe. Underdrawing lines with differentmediums have been previouslytraced perpendicularly to the stripes. TL, IR and IRT,have been carried out using a full-spectrum camera, usual for multi-band studies.The aim of the paper is to evaluate the behavior of the pigments in the two regions ofthe spectrum, comparing visiblephotographs and transmitted photography. The finalobjective is to understand aspects such as transparency and opacity, or ability to blockthe light, factors that will allow a greater systematization of this type of imaging.
Kunsttexte, 2018
The LANIAC (Laboratorio di analisi non invasive su opere d’arte antica, moderna e contemporanea) ... more The LANIAC (Laboratorio di analisi non invasive su opere d’arte antica, moderna e contemporanea) of the University of Verona (Italy) and the CAEM (Centre d’Art d’Època Moderna) of the University of Lleida (Spain), two university twin centres, share their working methodologies on copies, forgeries and fakes using diferent diagnostic methods. The present paper delves with the universes of copies, fakes and forgeries. Concepts and practices like motifs reusing, pastiches confection and stylistic recreations are dealt here by displaying diferent cases of study examined by both centres. Through the technical imaging and the artistic diagnosis some conclusions on the proper identifcation of each object are drawn, in order to understand such artworks in the time and space axis and in their whole materiality and sense.
Talks by Marta Raïch
Presentazione del volume sul Teatro di Sabbioneta (A. Adami, E. Brunelli, L. Fregonese, L. Taffur... more Presentazione del volume sul Teatro di Sabbioneta (A. Adami, E. Brunelli, L. Fregonese, L. Taffurelli, C. Togliani) e del corto "Costruire, abitare, pensare. Sabbioneta e Charleville città ideali dei Gonzaga. Dietro le quinte" (Regia di Marta Raich, Università di Lleida; © Complesso Museale Palazzo Ducale di Mantova), realizzato nel contesto della mostra sulle città ideali tenuta nel Palazzo Ducale di Mantova (2017 / 2018)
Conservation and Restoration Papers by Marta Raïch
Resumen: El presente artículo versa sobre el uso de la fotografía infrarroja transmitida (IRT), u... more Resumen: El presente artículo versa sobre el uso de la fotografía infrarroja transmitida (IRT), una técnica todavía muy desconocida, pese a que paradójicamente aporta una información fundamental en el estudio y documentación de las pinturas sobre lienzo. A diferencia de la fotografía infrarroja (IR), esta técnica opera por transmisión y no por reflexión, por lo que ofrece imágenes transversales de todos los estratos de la obra. Fundamentalmente arroja evidencias sobre el diseño y la composición, visibilizando sus cambios; el método de ejecución empleado; pesquisas sobre los materiales; y evidencias del estado de conservación, pudiendo considerarse una de las técnicas más ricas de imagen multi-banda; procedimiento que además puede realizarse con escasa inversión. El objetivo de este artículo es darla a conocer para fomentar su uso entre conservadores e investigadores, así como mostrar ejemplos de sus aportaciones, ofreciendo claves de lectura para su correcta interpretación. Palabras clave: fotografía infrarroja, fotografía infrarroja transmitida, transirradiación, transiluminación, multiband imaging, pintura sobre lienzo Looking through the layers: infrared transmitted photography (IRT) applied to the technical and documentary study of paintings on canvas Abstract: This paper deals with the use of transmitted infrared photography (IRT), a technique which is still very unknown. Paradoxically its use provides fundamental information in the study and documentation of the painting. Unlike infrared (IR) photography, which is based on the phenomenon of reflection, IRT uses the transmission one, offering images of the whole layers of the work. Fundamentally, it provides evidence on the underdrawings and composition, showing its changes; as well as the method. This it can be considered one of the richest techniques in multiband imaging, while it is also a procedure that can be performed with little investment. The objective of this paper is to make it known in order to promote its use among conservators and researchers, as well as to show examples of its contributions, offering keys for its correct interpretation too.
The aim of this paper is to evaluate the behavior of 50 historical pigments in the two spectrum r... more The aim of this paper is to evaluate the behavior of 50 historical pigments in the two spectrum ranges VIS and IR, by using transmitted light. For this study, pigments were bound with oil and were applied in several layers over underlying lines, drawn with different media. The purpose of this study was to evaluate the behavior of pigments in the two spectrum ranges, comparing visible and infrared photographs with the respective images taken with transmitted light. The main idea is to compare the optical properties of each pigment in visible (VIS), transmitted light (TL), infrared (IR) and infrared transmitted (IRT). This was achieved by assessing visible and infrared photographs in incident and in transmitted light. The ultimate goal is to understand aspects such as transparency and opacity as well as the ability to block light. Finally, the intention is to classify the pigments by their behavior noting their similarities and differences, considering the aforementioned factors. Since photographic techniques are very common in the study of painting, this study has been considered useful to classify patterns of behavior, which will allow greater systematization of these types of imaging.
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Papers by Marta Raïch
of St. John the Baptist in the Desert. today in the Uffizi
museum. Different versions of the same subject are here compared
on the basis of non invasive diagnostic analyses. The
underdrawing, investigated with IRR, shows some common
features to the panel held in the National Gallery in Bologna,
the one in the Liechtenstein Museum in Vienna, and an unpublished
version in a private collection. It demonstrates the
presence of a common cartoon for all versions. This lead to a
better understanding of the activity at Raphael’s workshop in
Rome during his last years of production. Whereas the project
drawing held in Gabinetto degli Uffizi is by Raphael, the correspondent
cartoon must be ascribed to Giulio Romano. The
latter is supposed to be the author of the above-mentioned
paintings held in Vienna and in a private collection.
Paola Artoni, Miquel Herrero-Cortell, Paolo Bertelli, Marta Raïch, Giulio Romano nella bottega di Raffaello: l’underdrawing come traccia per la fortuna del San Giovannino nel deserto, «Accademia Nazionale di San Luca - Quaderni degli Atti 2019-2020», 2021, pp. 59-66
by Federico the II Gonzaga to Giulio Romano, who
completed it in 1536-1539; the Apartment is an important exemplum
in understanding how Pippi’s laboratory worked. Its wall
paintings have been investigated with non-invasive diagnostic
methods by an équipe of international scholars in order to understand
the different procedures and the kind of work used in
the sections of the apartment. The data collected and the study
of the materials confirm that Giulio Romano prolonged the
tradition of his maestro by arranging his worksite according to
what he had learnt in Raphael’s laboratory in Rome. The analysis
unveiled the different phases of the genesis of the wall painting,
from the traditional fresco – used in the hall of Troy, where
some relevant ongoing changes have been detected – to the
Winged Victories, which were dry-painted probably by Giulio
Romano himself.
Paolo Bertelli, Paola Artoni, Miquel Herrero-Cortell, Marta Raïch, Isidro Puig, «Con ricetti riccamente ornati»: le tecniche artistiche di Giulio Romano nell’appartamento di Troia del Palazzo Ducale di Mantova, «Accademia Nazionale di San Luca - Quaderni degli Atti 2019-2020», 2021, pp. 67-74
24Even ifthe diverse techniques which MBTI comprises have their own independent value,(specially IRFC), when they are used together they provide much more information, bycomparing the many results. (Poldi; Villa, 2006: 127-137); (Cosentino 2014; 2016: 4-5)This study proposes the observation of the behaviour of 20 historical pigments anddyes throughout the spectrum, in the different images of MBTI. Some have been usedsince Antiquity, and others incorporated progressively on the palette of painters, untilthe 18th century. They have been bound with oil, painted on a surface prepared withchalk-glue ground, similar to traditional preparation. They all have been previouslycharacterized with RAMAN. Then, they have been imaged in VIS, IR and UV ranges. Inorder to calibrate colours a modified AIC target has been used (Cosentino 2014: 3).Although the system can not be considered precise, (and should be backed with somephysical or chemical analysis before extracting definitive conclusions) it can help, at least to a first approach. It is a very economical, visual-based, non-invasive fast system.It serves to check the presence of some materials (in some cases, the system proves tobe almost infallible). Hence, with very basic equipment, interesting results for arthistorians and conservators can be obtained.
Talks by Marta Raïch
Conservation and Restoration Papers by Marta Raïch
of St. John the Baptist in the Desert. today in the Uffizi
museum. Different versions of the same subject are here compared
on the basis of non invasive diagnostic analyses. The
underdrawing, investigated with IRR, shows some common
features to the panel held in the National Gallery in Bologna,
the one in the Liechtenstein Museum in Vienna, and an unpublished
version in a private collection. It demonstrates the
presence of a common cartoon for all versions. This lead to a
better understanding of the activity at Raphael’s workshop in
Rome during his last years of production. Whereas the project
drawing held in Gabinetto degli Uffizi is by Raphael, the correspondent
cartoon must be ascribed to Giulio Romano. The
latter is supposed to be the author of the above-mentioned
paintings held in Vienna and in a private collection.
Paola Artoni, Miquel Herrero-Cortell, Paolo Bertelli, Marta Raïch, Giulio Romano nella bottega di Raffaello: l’underdrawing come traccia per la fortuna del San Giovannino nel deserto, «Accademia Nazionale di San Luca - Quaderni degli Atti 2019-2020», 2021, pp. 59-66
by Federico the II Gonzaga to Giulio Romano, who
completed it in 1536-1539; the Apartment is an important exemplum
in understanding how Pippi’s laboratory worked. Its wall
paintings have been investigated with non-invasive diagnostic
methods by an équipe of international scholars in order to understand
the different procedures and the kind of work used in
the sections of the apartment. The data collected and the study
of the materials confirm that Giulio Romano prolonged the
tradition of his maestro by arranging his worksite according to
what he had learnt in Raphael’s laboratory in Rome. The analysis
unveiled the different phases of the genesis of the wall painting,
from the traditional fresco – used in the hall of Troy, where
some relevant ongoing changes have been detected – to the
Winged Victories, which were dry-painted probably by Giulio
Romano himself.
Paolo Bertelli, Paola Artoni, Miquel Herrero-Cortell, Marta Raïch, Isidro Puig, «Con ricetti riccamente ornati»: le tecniche artistiche di Giulio Romano nell’appartamento di Troia del Palazzo Ducale di Mantova, «Accademia Nazionale di San Luca - Quaderni degli Atti 2019-2020», 2021, pp. 67-74
24Even ifthe diverse techniques which MBTI comprises have their own independent value,(specially IRFC), when they are used together they provide much more information, bycomparing the many results. (Poldi; Villa, 2006: 127-137); (Cosentino 2014; 2016: 4-5)This study proposes the observation of the behaviour of 20 historical pigments anddyes throughout the spectrum, in the different images of MBTI. Some have been usedsince Antiquity, and others incorporated progressively on the palette of painters, untilthe 18th century. They have been bound with oil, painted on a surface prepared withchalk-glue ground, similar to traditional preparation. They all have been previouslycharacterized with RAMAN. Then, they have been imaged in VIS, IR and UV ranges. Inorder to calibrate colours a modified AIC target has been used (Cosentino 2014: 3).Although the system can not be considered precise, (and should be backed with somephysical or chemical analysis before extracting definitive conclusions) it can help, at least to a first approach. It is a very economical, visual-based, non-invasive fast system.It serves to check the presence of some materials (in some cases, the system proves tobe almost infallible). Hence, with very basic equipment, interesting results for arthistorians and conservators can be obtained.