Alberto Felici, the restorers of Florence’s archeology and Fine Arts Superintendency, were used to evaluate fresh Brancacci hermitage. Methodically work, Felici touched the painted surface, small vibrations and fluffy sounds leave damage under art.
This work driven Felici from the layer of fresh – painted surface to the surface of the painted surface, or the second coat of plaster, adhering or deviating from the wall. It is a good first evaluation that expresses weak areas, he says. Attention was needed, in the late XVI century Philippino Lippi painted a small part that separated before and the sign of this inspection was necessary.
“But there is a point at this point,” says Felici. A restorer must be able to understand if it is “ongoing”, if something happened in a year, or the previous day. This is impossible with this assessment, “he noted.
This tap test is manual and very subjective with interactive works of art and intrusive scaffolding works in vault ceilings. Experts like Cristiano Rimineses, researcher at the National Research Council of Heritage Science Institute, agrees that more data could be improved.
“Although the wearings are often acknowledged, this method is time for greater time, and the accuracy of execution and interpretation is too discretionary and depends on individual restorative skills and experiences,” he noted.
Finding non-invasive techniques
Working with Felici, the Rimnesi team could see that a combination of various portable and invasive tools could have a scientific approach to preserve restorers such as Felici.
The Brancacci Chapel in the Church of Santa María del Carmine in Florence, Masaccio and Filippino Lippi are masterpieces at the beginning of the Renaissance painter. In 600-year history, chapel has undergone structural changes in 1771, in 1771, and relevant conservation efforts to restore paintings or reuse previous interventions in 1990. When a lacquered leak based on the decade.
This current project began in November 2020 in a routine control when the deterioration of the surface was discovered. Many organizations protected the restoration process, including the city of Florence, the superintendency of archeology, the Opicio Dell Pietre Dure, and the Italian National Research Council for cultural heritage. The conservation project was funded by friends from Florence and Jay Pritzker Foundation. The work ended in 2024 and was open to the public chapel with the addition of elaborate scaffolding and temporary elevator.
For preservatives, one of the most notable aspects of the state of fresh condition is to have cracks, cavities, movements, many of which are below the surface and with a pure eye. The Rimnesi Group has investigated how to explore infrastructures with three specific modern technologies to explore infrastructures and analyze the situation with scientific accuracy.
Technologies – Digital Holographic Pattern is Pattern interferometry, microwave reflection and thermography is infrared: they are known in the world of advanced diagnosis. Non-invasive and highly transported, their configuration is a cultivated photo session, located on lamps, signs and devices on trutions, laptops and other equipment.
Optical and microwaves
The Rimnesi team took these systems to the hermitage and tested using optical technology and microwave. In the representation of Masolino focused part of his analytical work Key healing and tabit breeding (1424-28).
Parts Restorers refer to what they refer to a male image day-No it is fresh, paint and allowed to dry in a single day. Although the artist has worked properly, these areas can be marked by the edges that can be detected, sometimes visually or with these advanced technologies. His size and overlapping patterns provide historians in many views about the artistic process. This has been a concern since the 1990s.
New technologies acquired the initial data that suggested that the mortar was becoming thin at the male figure. Riminesi then returned to the laboratory and evaluated using cracks, cavities and other wall errors and technology. Comparing these results, restorers had a more detailed analysis of the weakness of the area that refined the “unstable” in the millimeter.
In the long run, Rimnesi says, these tools can be offered “conservatives and restorers, the decisive opportunity to place errors, directly and non-fields that are not in full areas.”
New views
Beyond the diagnostic capabilities, technologies offer new approaches to art and artistic process.
“Some of these new findings are still amazing that we are evaluating,” says Felici.
These advanced image devices allow researchers to see the details lost in man’s eyes and reveal unexpected discoveries about palette and fresh techniques. Felici has conventionally explained that artists work in dry or wet conditions of plaster using pigs and pigments about each process. What the data showed the pre-unknown text features and a richer color palette.
“What we have evaluated, after this very deep research, the differences between the two main techniques are not so specific,” he says. “Painters were able to manage the mortar environment more complicated and more complicated.”
Researchers intend to share in the conference and other findings in April 2025 and apply to the continuous maintenance of this knowledge.
