La ricerca tecnico-scientifica come supporto dello studio storico-artistico nell’attribuzione delle opere d’arte
10.6092/issn.1973-9494/7168
Il lavoro presentato sottolinea l’importanza della valutazione oggettiva e soggettiva nello studio dei materiali costitutivi e delle tecniche esecutive nonché dello stato di conservazione di alcuni dipinti effettuato nell’ambito dei corrispondenti interventi di restauro. Tali osservazioni, supportate da indagini analitiche e da valutazioni storico-artistiche, si configurano come una fase imprescindibile di una ricerca interdisciplinare mirata all’attribuzione di un’opera d’arte. Lo studio è incentrato su Pietro Novelli, il massimo esponente dell’arte figurativa del Seicento in Sicilia con un significativo riscontro tra i suoi contemporanei ed una fortuna perpetuata anche nei secoli successivi. L’interesse nei confronti del Monrealese scaturisce dall’attuale mancanza di ricerche mirate al riconoscimento dei tratti caratterizzanti, che si accompagna all’esistenza di un numero rilevante di dipinti di incerta attribuzione e di manufatti eseguiti da seguaci e copisti. La ricerca consiste nell’applicazione di una metodologia di indagine di carattere tecnico e mostra due esempi di dipinti seicenteschi raffiguranti Davide con la testa di Golia e la Madonna Addolorata. In occasione dei recenti restauri è stato condotto uno studio delle procedure esecutive affiancato da opportuni raffronti con manufatti di sicura attribuzione: in entrambi i casi è stata possibile un’assegnazione diretta al Novelli ed un’identificazione delle opere rispettivamente come replica e attribuita.
application/pdf
1973-9494
7168
en
Mauro Sebastianelli
Conservation Science in Cultural Heritage
execution techniques
Technical and Scientific Research as an Aid to Art Historians in the Attribution of Art Works
Text.Serial.Journal
https://conservation-science.unibo.it/
16
Articles
2017-07-24
2017-07-17
2017-07-24
2017-09-04
147-183
CSCH
Mauro Sebastianelli
2016
10.6092/issn.1973-9494/7168
147
University of Palermo
1973-9494
execution techniques
en
183
Viscuso, T., (1990), Davide con la testa di Golia, in: Pietro Novelli e il suo ambiente, Palermo: Flaccovio Editore, pp. 260-261.
Technical and Scientific Research as an Aid to Art Historians in the Attribution of Art Works
https://conservation-science.unibo.it/article/download/7168/6895
16
T    ECHNICAL AND SCIENTIFIC RESEARCH AS AN AID TO
     ART HISTORIANS IN THE ATTRIBUTION OF ART WORKS

   Mauro Sebastianelli*5
   Laboratory of Restoration Archdiocese of Palermo
   University of Palermo, Italy


   Keywords: Pietro Novelli, replica, attribution, diagnostic evaluation, execution tech-
niques


   1. Objective evaluation in the study of cultural artifacts

    Interest in cultural heritage has always pushed academics to search for criteria and
methodologies that would help determine its nature and provide a comprehensive defi-
nition. Contemporary art, with its artistic forms that are difficult to classify, has certainly
made the task of defining the “limits” of what an art work is, quite arduous.
    It is useful to remember the considerable progress made in legislative matters, dur-
ing the last century, when national and international laws regarding cultural goods
already regulated aspects regarding the conservation and valorization of historical-
artistic heritage.
    Within this vast and complex subject, we find the problem of the attribution of works
of art, a rather delicate issue, considering the considerable economic interests, which
might constitute a risk of strong bias. However, regardless of the commercial reasons,
personal interest in knowledge and learning often plays a far more “noble” role in the




                                                                                                        CONSERVATION SCIENCE IN CULTURAL HERITAGE
debate on authentication and attribution.
    In the past, the “attribution” of a painting lacking authentic signatures or recognized
documents meant basing a proposed name exclusively on the preparation and sen-
sitivity of the scholar and stylistically comparing it with similar art pieces, namely on
qualitative criteria. Today, the evolution of art-historical studies has led to greater cau-
tion in hypothesizing attributions and especially in defining essential parameters that
increase reliability: typology of the artifact, dating, subject, symbolic and iconographic
meaning, style, commissioning, provenance, format and dimensions, uniqueness,
conservation status, history, etc.
    Nevertheless, there is a certain difficulty, if not a lack of unity, in the identifying
criteria of art objects, especially because of the considerable number of similarities
between the main masters and their followers, the existence of copies, replicas and
even fakes and the inevitable uncertainty regarding sources and archival documents.
    In this regard, it is useful to remember the most commonly used terminology in the
classification of art objects and the basic criteria for attribution [1, 2].




* Corresponding author: maurosebastianelli@hotmail.com


                                                                                                  147
                                                                                                                     Terminology       Definition

                                                                                                                     Authentic         Art piece belonging to the author and indicated period

                                                                                                                     Original or au-
                                                                                                                                       Art piece by a certain artist which contains all the stylistic characteristics
                                                                                                                     tographed
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                     Replica or va-    Repetition or re-edition of an original prototype by the same artist; can con-
                                                                                                                     riant             tain differences in format, technique or some iconographic particulars

                                                                                                                                       Reproduction (more or less) true to the original, done by a different artist
                                                                                                                     Copy
                                                                                                                                       from the one recognized as the author of the prototype

                                                                                                                                       Total replacement, imitation and forgery of an art object with the intent of
                                                                                                                     Fake
                                                                                                                                       committing fraud

                                                                                                                                       Art object made using printing, photography or computer media different
                                                                                                                     Reproduction      from the original technique; often entails reduction in size and substantial
                                                                                                                                       modification of visual-perceptual effects

                                                                                                                                       Indication referring to an art object belonging to the same period as the
                                                                                                                     Attributed to
                                                                                                                                       named artist who is most probably the author

                                                                                                                                       Artifact that bears the signature of the artist in question, which needs to be
                                                                                                                     Signed by
                                                                                                                                       authenticated

                                                                                                                     School of         Art piece made by a student of the cited master or an artist from his circle

                                                                                                                                       Artifact by one artist with stylistic traits that can be traced to the indicated
                                                                                                                     Follower of
                                                                                                                                       master

                                                                                                                                       Concept associated with contemporary art, first and foremost linked to in-
                                                                                                                     Seriality         dustrial design, which indicates serial production of a prototype or forerun-
                                                                                                                                       ner through the use of machines

                                                                                                                        It immediately appears evident that subjective interpretations, by definition dubious
                                                                                                                    even when authoritative, still hold great significance. For a better standardization of
                                                                                                                    terminology concerning scientific methodologies, more emphasis must be put on the
                                                                                                                    study of constituent materials, namely quantitative parameters. This type of analysis,
                                                                                                                    in fact, focuses its attention on certain technological aspects, which in turn are charac-
                                                                                                                    teristic of a specified period and a known artist or a school and can thus be distinctive
                                                                                                                    in the case of attribution.
                                                                                                                        In this sense, the process of restoration, and especially related studies, offers a
                                                                                                                    unique opportunity to examine the artifact through close observation, to characterize
                                                                                                                    the constituent materials and the way they have been employed, to detect any addi-
                                                                                                                    tions and identify any other kind of intervention.
                                                                                                                        In this context, it is also important to consider evaluating the state of conservation,
                                                                                                                    since deterioration can contribute to identifying a work of art. In most cases, in fact, the
                                                                                                                    form of alteration can be connected to the constituent materials and execution tech-
                                                                                                                    niques, as well as the environment and the cause of deterioration.
                                                                                                                        The analysis of a painting from a stylistic point of view, accompanied by accurate re-
                                                                                                                    search on the relevant literature, undoubtedly offers essential information for an initial
                                                                                                                    historical and geographical contextualization, narrowing down the number of probable
                                                                                                                    authors.


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    This type of observation is limited solely to the exterior image, so it is very useful to
note that the aesthetics of an art work can be difficult to read, if not actually compro-
mised, due to the presence of yellowed varnish or repainting that has altered its formal
quality.
    Scientific analysis effectively makes it possible to elaborate research beyond the
mere visible, as in the case of X-rays and reflectograms, which highlight the internal
structures of materials, underdrawings and pentimenti. Also as regards the chemical
characterization of materials, the benefits of scientific contribution are indisputable,
because, for example, the discovery of White Lead or Titanium White on a white back-
ground can place an art object within a specific time span.
    There are other limits, as in the case of non-invasive and microdestructive analy-
ses, since they only obtain information on certain areas, which even if representative,
remain limited. Furthermore, acquired data may appear insufficient for the purpose of
attribution if they are not supported by other evaluations. If we return to the example of
the White Lead (the concept can be applied to other pigments), it is evident that its use
over the centuries by a vast number of artists does not allow for it to be considered a
distinctive element. Similarly, some non-invasive methods represent an advantage in
that they can be applied to the whole artifact, but can be ineffective if not interpreted
correctly. It is not sufficient to find an underdrawing on a medieval panel painting, be-
cause one needs to verify the way in which it was created in order to associate it with
a specific artist.
    These considerations highlight the importance of technical observations and the
amount of information the diagnostician and the restorer can provide. In common lan-
guage the signature on a painting is the writing of a name, a pseudonym or the artist’s
initials. However, there are other types of “signatures”, almost always involuntary, that
constitute a sort of “digital fingerprint”. This is the case of the stratigraphic sequence
of backgrounds and overlaying, the gradual way the image is constructed, from the
first creative act of drawing to definition of the final details, the way the brushstrokes




                                                                                                      CONSERVATION SCIENCE IN CULTURAL HERITAGE
are oriented and the ability to render shapes realistically through the use of shadows
and highlighting. In simple terms, this is a set of distinctive traits that can be defined
“the artist’s hand”, which even the most able of students, copyists and forgers are not
able to imitate exactly, because they are, by nature, individual and highly personal
characteristics.
    Ultimately, it is clear how the technical and conservational reading of the art object is
a synthesis between the analysis of the visible (historical and artistic) and the analysis
of the invisible (scientific) able to offer new arguments and often corroborate or dis-
prove hypotheses regarding possible authorship.
    Naturally, technical evaluation of an art object should not be understood as replac-
ing a historical, artistic and scientific approach, even though from what has been
stated previously, it clearly plays a fundamental role in removing any doubts regard-
ing authentication of an artifact. A technical study must therefore be integrated with
stylistic comparisons and information obtained from antique sources and/or archival
documents including, when possible, the results of any diagnostic analyses. Only
convergence of the qualitative and quantitative data and synergy between different
analytical perspectives can effectively provide a degree of accuracy in the proposed
attribution1 [3, 4].
    This study constitutes a practical application of the afore-mentioned arguments and
is centered on the Sicilian painter Pietro Novelli, also known as Il Monrealese (Mon-


                                                                                                149
                                                                                                                    reale, March 2nd 1603 – Palermo, August 27th 1647). Novelli is a symbol of the local
                                                                                                                    artistic culture and a significant example in terms of attribution due to the large number
                                                                                                                    of important artists revolving around this charismatic figure during the 1600s and the
                                                                                                                    evidence obtained in the following centuries.
                                                                                                                       Novelli, moreover, offers numerous opportunities for study and insight on a technical
                                                                                                                    level, which is why two paintings from the 1600s will be discussed here. A methodology
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                    for their analysis was defined on the occasion of their restoration: the unpublished and
                                                                                                                    anonymous canvas representing David with the Head of Goliath and Our Lady of Sor-
                                                                                                                    rows, historically indicated as belonging to “the school of Pietro Novelli”.
                                                                                                                       In the first case, an indication of the artifact as being a piece by Novelli comes from
                                                                                                                    the art historian V. Abbate, who led the research from the first stages. Afterwards,
                                                                                                                    technical observations were conducted and supported by analytical research that ef-
                                                                                                                    fectively proved the peculiarities attributable to the artist in question. In particular, the
                                                                                                                    research was based on technical comparisons with another version already identified
                                                                                                                    as belonging to Monrealese and with numerous other recognized paintings. At the
                                                                                                                    same time, art-historical examinations were conducted which supported this hypoth-
                                                                                                                    esis to the point where the painting was definitively attributed to Novelli.
                                                                                                                       For the second artifact, the starting point was the historical reference to the school
                                                                                                                    of Novelli offered by an ancient inventory. Therefore, the aim of the methodology of
                                                                                                                    the technical examinations applied during restoration was to verify the veracity of said
                                                                                                                    attribution. In this case, the results of the research not only confirmed the context in
                                                                                                                    which Monrealese worked, it also allowed a direct reference to be proposed in favor of
                                                                                                                    the famous painter.



                                                                                                                       2. Pietro Novelli: the eclectic emblem of 17th century Sicilian painting

                                                                                                                        The “royal painter” and architect Pietro Novelli is certainly the most significant artist
                                                                                                                    of Sicilian painting in the 1600s. The lively local intellectual environment in Monreale
                                                                                                                    and Palermo, between the late 1500s and the early 1600s, fueled by aristocrats, aca-
                                                                                                                    demics and literati and their interest in poetry, figurative art, collections and antiques,
                                                                                                                    certainly contributed to Novelli’s education.
                                                                                                                        There is an evident influence in his work from Genoese art, references to great
                                                                                                                    Italian painters like Michelangelo Merisi da Caravaggio and traits similar to Spanish
                                                                                                                    painters like Jusepe de Ribera, also known as Lo Spagnoletto, or Flemish painters
                                                                                                                    like Pieter Paul Rubens, Geronimo Gerardo and especially Anton van Dyck. In addi-
                                                                                                                    tion to the direct or mediated contact with these masters, Monrealese’s personal life
                                                                                                                    and artistic career were marked by his journeys to Rome and Naples, during which
                                                                                                                    he approached the Renaissance culture and the Naturalism of Neapolitan painting
                                                                                                                    [5-7].
                                                                                                                        The results of these experiences combined with his innate creative instinct marked
                                                                                                                    a stylistic evolution that brought Novelli considerable success compared to his peers2.
                                                                                                                    Monrealese, who in his early days took inspiration from copying his main role models,
                                                                                                                    as an adult was one of the most influential artists of his day and much sought after by
                                                                                                                    the Sicilian nobility.
                                                                                                                        His fame grew locally and remained unchanged in the centuries to come. This led to
                                                                                                                    numerous followers producing an infinite number of variants, more or less true to the
                                                                                                                    canons matured by Monrealese, among them his children Pietro Antonio and Rosalia.


                                                                                                              150
The latter, in particular, adopted a style that was so close to her father’s, in fact, that
attributing a work to one or the other is a challenge3.
   However, it was above all during the 19th century that great fortune arrived at an
artistic level and in terms of critical acclaim. In fact, A. Gallo wrote a biography and pro-
duced the first comprehensive study of the painter, while other scholars emphasized
his skill to the point where it became a true celebration of his talent [8]. It is therefore
not surprising that, contextually, Novelli’s work became a model for many 19th century
painters to use in response to the ever growing requests of clients to copy pieces by
the famous master, or be inspired by them to create new iconographic works4 [9].
   It is also necessary to consider that the 1800s represented the Neoclassical era in
Sicily, a nostalgic revival of things “ancient” and a growing taste for antiques. In the
case of figurative art, the presence of the Academy of Fine Arts in Palermo starting
from the second half of the 18th century certainly accentuated the phenomenon of
copies of the great masters, especially those of Novelli, even if S. Riccobono relates
this aspect more to the individual inclinations of artists and clients, than to precise
academic movements.
   Amongst the names of artists that devoted themselves to Novelli copies, also for
“conservation” reasons, it is useful to note Giuseppe Velasco, Salvatore Lo Forte and
especially Giuseppe Patania with his numerous drawings, and Giuseppe Patricolo5. It
should be remembered that these artists, for example Velasco, at times, were called
upon to intervene on Novelli’s paintings which were in desperate need of restoration.
Nevertheless, in line with the practice at the time, the work often mutated into a sort
of gaudy makeover, as in the frescoes of the church of Saint Anthony of Padua in
Palermo.
   An interesting case is constituted by the late 18th century drawings made by some
copyists of Novelli’s works, mostly frescoes, most of them lost or presumed lost. These
graphic depictions not only allow for the “catalogue” of Monrealese to be reconstruct-
ed, but also to enquire into the technical procedures used during copying.




                                                                                                      CONSERVATION SCIENCE IN CULTURAL HERITAGE
   Of some relevance is the case regarding a pencil drawing painted over with black
ink by an unknown painter from the second half of the 18th century. In 1990, S. Ric-
cobono described it as the copy of a Novelli fresco depicting the Triumph of David from
the church of Saint John of Origlione in Albergheria, in Palermo, presumed lost after
the bombing in 1943, due to the fact it had been covered with a thick layer of plaster in
the 1950s. Today the fresco has returned to our attention after its discovery during the
restoration of the building in 20116.
   Just as interesting is the brown ink and watercolor drawing by Matteo Mauro, a copy
of the Novelli fresco in Monreale with Saint Benedict Distributing Bread, which is also
a restoration by Velasco and was also inspected by Patania. In order to repeat the
exact composition of Monrealese, the copyist used quadrettatura, even if on a reduced
scale. Also, in correspondence with finer details, one can note a double subdivision
into smaller squares, in order to guarantee a greater resemblance to the original im-
age [10].
   Therefore, such a conspicuous number of copies (paintings on canvas or drawings)
makes Novelli an emblematic example of an artist where the problem of attribution is of
primary importance, especially when one considers its value and relevance in Sicilian
painting, not only for the 1600s, but for all periods in time.
   The following two art pieces were subsequently examined: David with the Head of
Goliath and Our Lady of Sorrows.


                                                                                                151
                                                                                                                       3. The replica of David with the Head of Goliath

                                                                                                                       3.1. Introduction

                                                                                                                        When a request was made to restore the oil painting on canvas, part of a private
                                                                                                                    collection in Villa Sant’Isidoro de Cordova in Bagheria (PA), it was presented as an un-
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                    published piece without attribution or archival references (Figure 1). From the first for-
                                                                                                                    mal, technical and stylistic observation, it was clearly dated to the 17th century. Despite
                                                                                                                    the bad state of conservation, which made it hard to read certain details, it was found
                                                                                                                    that the procedure used closely resembled that of the Sicilian painter Pietro Novelli.
                                                                                                                    Starting with recognition of the iconographic subject, David with the Head of Goliath,
                                                                                                                    preliminary research led to an identical version kept at the J. Paul Getty Museum in
                                                                                                                    Malibu, identified as an authentic work by Monrealese (Figure 2).
                                                                                                                        This painting, dated to circa 1630, came from a former private collection and was
                                                                                                                    acquired by the museum in 1972 at a Sotheby’s auction sale, and today corresponds to
                                                                                                                    inventory number 72.PA.16 [11]. In the registers of Sicilian collections there is no men-
                                                                                                                    tion of this composition by the artist from Monreale. It has therefore been hypothesized
                                                                                                                    the painting was executed in Rome and dated to around 1631 [12].
                                                                                                                        From the bibliographical research, what seems significant is the attribution to No-
                                                                                                                    velli, which until now has been based solely on stylistic comparisons and in particular
                                                                                                                    the existence of three other versions of the painting, conserved in the Musèe D’Art et
                                                                                                                    D’Histoire in Geneva, the Musèe des Beaux Arts in Marseille and in the collection of
                                                                                                                    Count Toreno in Madrid.
                                                                                                                        The attribution of each of the pieces is still dubious, since the paintings have been
                                                                                                                    recognized as replicas of the work in the Paul Getty Museum and as copies, contem-
                                                                                                                    porary to this piece, even though scholars seem to converge on the name of Novelli.
                                                                                                                    In any case, the artifacts testify to the positive feedback the subject experienced by
                                                                                                                    the many commissions it obtained during that period. Nevertheless, the importance of
                                                                                                                    an in-depth study from a technical point of view is evident in order to reveal some of
                                                                                                                    Monrealese’s particular characteristics and consequently achieve a better definition of
                                                                                                                    the above-mentioned art pieces.
                                                                                                                        Bearing this in mind, an interdisciplinary line of research was developed which
                                                                                                                    changed the first impressions regarding the analogies between Sicilian painting and
                                                                                                                    Novelli’s modus operandi, into the hypothesis of another replica of David with the
                                                                                                                    Head of Goliath. In addition to the restoration work, a synergy between historical-artis-
                                                                                                                    tic evaluations and those of a technical nature was formed and supported by appropri-
                                                                                                                    ate diagnostic analyses7. Specifically, an accurate comparison was made between the
                                                                                                                    numerous pieces by Novelli, conserved in churches, oratories and museums spread
                                                                                                                    throughout Sicily; it was thus possible to examine them at close range.

                                                                                                                       3.2. Technical examination and analytical diagnostics

                                                                                                                       In the comparison with the American version, we have to underline similarities in the
                                                                                                                    constituent materials and the techniques of execution. Both paintings were produced
                                                                                                                    with oil on canvas and present a vertically rectangular format, the exhibit from Malibu
                                                                                                                    measuring 129.5 x 102.2 cm and the Sicilian replica 128 x 103 cm. The version in
                                                                                                                    Bagheria has the original hardwood frame with a central rectangular horizontal cross
                                                                                                                    section and four perimeters held together by corner joints in capitello style, one of the
                                                                                                                    typical features of 17th century Sicily8 [13].


                                                                                                              152
Figure 1. Pietro Novelli (attr.), David with the Head of Goliath, first half of the 17th century, oil
on canvas, 128 x 103 cm, private collection, Villa Sant’Isidoro de Cordova, Bagheria (PA), recto
before restoration (left), recto after restoration (right).




                                                                                                              CONSERVATION SCIENCE IN CULTURAL HERITAGE




Figure 2. Pietro Novelli, David with the Head of Goliath, ca. 1630s, oil on canvas, 129.5 x 102.2
cm, recto, The J. Paul Getty Museum, Malibu.


                                                                                                        153
                                                                                                                        From the direct observation of the art pieces and consultation of bibliographic refer-
                                                                                                                    ences, it has emerged that Novelli usually used single canvases in linen and/or hemp
                                                                                                                    in plain weave (ratio 1:1) and sparse density (on average 7 x 8 threads per square
                                                                                                                    centimeter) [14]. The examined painting is quite consistent with the techniques of Mon-
                                                                                                                    realese, in that a support consisting of a single canvas in linen fiber in plain weave and
                                                                                                                    a sparse density of 8 (warp) x 9 (weft) threads per square centimeter was discovered,
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                    with a normal or Z-twist of the yarn. Similarly, David with the Head of Goliath in the Paul
                                                                                                                    Getty Museum seems to represent a single canvas with orthogonal weaving.
                                                                                                                        Using a brush, the artist has applied a preparatory layer on the canvas in reddish
                                                                                                                    tones made from calcium carbonate and pigments (silicates and yellow and red earths)
                                                                                                                    mixed with oily binder medium and an imprimatura similar in content, but thinner and
                                                                                                                    lighter due to the presence of small amounts of White Lead9. The application appears
                                                                                                                    thick and irregular, unlike the imprimatura, which is more uniform and compact. The
                                                                                                                    latter was also used by the painter in both versions of David with the Head of Goliath
                                                                                                                    to accentuate the depth of image. On the shadows of the flesh tones and on the back-
                                                                                                                    ground in fact, the colors used for filling in are thin in order to let the light brown color
                                                                                                                    emerge from the underlying layer10.
                                                                                                                        The most significant data, however, relates to the technique used for the painted
                                                                                                                    layer, where the pigments diluted in oil have been applied by alternating fine, fluid
                                                                                                                    brushstrokes for the background, the drapery and the flesh tones, with substantial
                                                                                                                    background filling for the highlights.
                                                                                                                        A careful analysis was made using diffuse and raking light which showed the modus
                                                                                                                    operandi of the Sicilian master, highlighting the peculiar traits of his personal style es-
                                                                                                                    pecially in the technical rendering of the composition. The general shape of the figures
                                                                                                                    comes from a first application of transparent coatings to obtain a sketch. The scene is,
                                                                                                                    however, already defined and the particular drawing ability is recognizable in the es-
                                                                                                                    sential lines and graceful shapes. The following phase is the most characteristic, and
                                                                                                                    it is here that Novelli uses his paints to render the volumes realistic, emphasizing the
                                                                                                                    details, in particular, of the faces.
                                                                                                                        On the whole, the art pieces present well-organized regular painted layers which
                                                                                                                    perfectly follow the profiles of the anatomies and drapes, showing great awareness
                                                                                                                    and confidence in the construction of the image, in contrast to the speed of the brush-
                                                                                                                    strokes. In the material and almost plastic rendition of the humans, Novelli expresses
                                                                                                                    one of his “signature” characteristics. A diffuse use of fluid background filling was used
                                                                                                                    to confer a pearly aspect to the female and young faces, whereas for the adult male
                                                                                                                    figures, Monrealese uses a dense color, ideal for simulating the roughness of the skin.
                                                                                                                    On the faces and the hands in particular, the painter uses pale-colored tones that are
                                                                                                                    illuminated by the light by applying several layers. Furthermore, he employed brushes
                                                                                                                    of a smaller dimension to define profiles and details, orienting them in a way which
                                                                                                                    faithfully followed the outline of the sketch, thus limiting pentimenti and overlaying11.
                                                                                                                        These characteristics common to many of Novelli’s artworks, can also be identified in
                                                                                                                    the two compositions of David with the Head of Goliath. The artist has first executed the
                                                                                                                    dark background with two layers of Earth Colors (Umber and Sienna) which are almost
                                                                                                                    transparent and exploit the tonality of the layer below; he then continued with the drapery
                                                                                                                    (with a base of Cinnabar, Earth Colors and White Lead for the red part) and the basic
                                                                                                                    shapes of the humans (White Lead and Earth Colors), maintaining minimal thickness in
                                                                                                                    the areas with dark shadows12. This characteristic was found on the head of Goliath and
                                                                                                                    the figure representing David, and is evidenced by the craquelure of mechanical origin,


                                                                                                              154
which is more pronounced on the dark colors. Subsequently, the painter strengthened
the lighter fuller tones for the flesh colors and defined the details and highlights with
crisscrossing touches of full-bodied color using small flat-tipped paintbrushes.
    The stratigraphic analysis of the painting from Bagheria, together with the analysis
of the materials and techniques, in particular focused on the highlighting. Following
comparisons with the American version and other masterpieces historically referred to
Monrealese, it was found that these details constituted the most distinctive element of
the Sicilian master and therefore have the same value as a signature.
    In the case of the examined subject, the anatomical particulars of the hands and the
face of David, not to mention the identical highlights on the left eye, the lower lip and
the extremities of the nose, are significant. These details appear as touches of pure
white, probably White Lead, applied with a fine-tipped brush in the areas of maximum
light (Figure 3). The recurring signs are not only found in David with the Head of Go-
liath, but also in other pieces by Novelli appearing as linear traits in correspondence
to the drapery and especially the eyes, where they follow the shape of the lower eye-
lid and accentuate the anatomical similarity thanks to the brilliance of the pure white
(Figure 4)13. On the extremities of the nose and fingers, the touches of white form an
almost circular outline that emphasizes the three-dimensionality of the volumes, con-
stituting a constant in all the figures (Figure 5).




                                                                                                              CONSERVATION SCIENCE IN CULTURAL HERITAGE




Figure 3. Pietro Novelli (attr.), David with the Head of Goliath, first half of the 17th century, oil
on canvas, 128 x 103 cm, private collection, Villa Sant’Isidoro de Cordova, Bagheria (PA), detail
of David’s hand. It is possible to observe the direction of the brushstrokes that neatly follow the
outlines of the forms, as well as the characteristic white highlights.


                                                                                                        155
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                    Figure 4. Pietro Novelli (attr.), David with the Head of Goliath, first half of the 17th century, oil on
                                                                                                                    canvas, 128 x 103 cm, private collection, Villa Sant’Isidoro de Cordova, Bagheria (PA), detail of
                                                                                                                    David’s eye in raking light. The image shows the linear white highlight that is one of the distinctive
                                                                                                                    characteristics of Novelli’s painting technique.




                                                                                                                    Figure 5. Pietro Novelli, Saint Francis of Paola, 1635, oil on canvas, 215 x 152 cm, Museo
                                                                                                                    Diocesano, Palermo, detail of Saint Francis’ eye in raking light. For this detail too, the painter “has
                                                                                                                    signed” the painting with a brushstroke that defines the lower eyelid.


                                                                                                              156
   3.3. Conclusions

    During its restoration, the anonymous painting from Bagheria representing David
with the Head of Goliath was accurately analyzed in order to confirm the first hypoth-
esis of its possible attribution to Novelli.
    Following the interdisciplinary research, technical and scientific on the one hand,
and art-historical on the other, the artifact was carefully examined through in-depth
visual and technical observations (analyses with diffuse and raking light, ultraviolet,
infrared, micro and macro photography). Where deemed necessary, the research was
supported by analytical techniques (SEM-EDS).
    Detailed art-historical research was conducted at the same time, aimed at compar-
ing the artifact with works already attributed to Monrealese.
    The discovery of numerous common elements between the examined canvas and
the other Novelli paintings, not to mention the more characteristic traits of the famous
master, have strengthened the hypothesis of attribution. These conditions allowed the
art historian V. Abbate to present David with the Head of Goliath from Bagheria as a
replica by Novelli himself on the occasion of his exhibition Capolavori ritrovati, organ-
ized by the Museo Mandralisca in Cefalù (PA) from April 25th to May 31st 2015.



   4. The attribution of Our Lady of Sorrows

   4.1. Artistic and historical research

    The oil painting on canvas featuring Our Lady of Sorrows, dated to the 17th cen-
tury from the Collezione Alliata of Palazzo Alliata di Villafranca in Palermo, constitutes
further evidence of the value of technical analysis in the attribution of a work of art14.




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
    In this case, the research conducted before the restoration procedure resulted in the
discovery of an indication in an old inventory.
    Historically, the canvas had in fact been referred to a School of Novelli in generic
terms and for this reason could be included among the many paintings inspired by the
style of Monrealese. More precisely, the wording in the inventory of the art pieces in
Palazzo Alliata reads as follows: Oil on canvas 17th century cm 65x51 “L’Addolorata”
already attributed to the School of Pietro Novelli with antique frame 18th century in
carved and gilded wood £ 4,000,000.
    On the other hand, as has been demonstrated, there are numerous artifacts real-
ized by followers with aspects similar to the technical and artistic aspects of the great
master which reaffirm how influential he was on the local art scene in the 1600s. More-
over, the similarities are sometimes so evident that scholars have doubted the possible
authenticity of the art pieces to the point where they have hypothesized about the
explicit recognition of Novelli himself. However, in the majority of cases, it is a question
of intuition that risks remaining unexpressed or erroneously enriching the Monrealese
catalogue in the absence of any scientific support based on technical evaluations and
the appropriate analytical research.
    During the restoration of the Our Lady of Sorrows, the first impressions of a techni-
cal character led to sustaining the veracity of the historical attribution. However, certain
visible characteristics suggested a possible direct reference to the painter from Monre-
ale. However, due to the bad state of conservation and the presence of overpainting,


                                                                                               157
                                                                                                                    additional technical investigations were necessary which had to be executed during
                                                                                                                    the restoration (Figures 6, 7).
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                    Figure 6. Pietro Novelli (attr.), Our Lady of Sorrows, first half of the 17th century, oil on canvas,
                                                                                                                    63.3 x 50 cm, Palazzo Alliata di Villafranca, Palermo, recto before restoration.

                                                                                                                       In this case, the objective of the research was to confirm or eventually disprove the
                                                                                                                    former attribution to the school of Novelli, without overlooking the hypothesis of an
                                                                                                                    explicit attribution to the Sicilian master.


                                                                                                              158
   The study methodology followed the same lines as those for the David with the
Head of Goliath, and was based mainly on identification of the constituent materi-
als, especially on the technique of execution, with the help of scientific research.
Yet again, it became evident how essential the comparison with recognized Novelli
artifacts was, in order to verify the possible presence of similarities and overlapping
traits.




                                                                                                              CONSERVATION SCIENCE IN CULTURAL HERITAGE




Figure 7. Pietro Novelli (attr.), Our Lady of Sorrows, first half of the 17th century, oil on canvas,
63.3 x 50 cm, Palazzo Alliata di Villafranca, Palermo, recto after restoration.


                                                                                                        159
                                                                                                                       4.2. Technical examination and analytical diagnostics

                                                                                                                        The painting presents a vertical rectangular format and measures 63.3 x 50 cm. The
                                                                                                                    artifact has a wooden frame, which is not original and was therefore not examined any
                                                                                                                    further during this procedure15.
                                                                                                                        From a technical executive point of view, the item from Palazzo Alliata showed
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                    numerous characteristics common to the Novelli pieces of recognized attribution.
                                                                                                                    The support is a single linen canvas in plain weave and sparse density of 8 x 8
                                                                                                                    threads per square centimeter, with a normal or Z-twist yarn and greater thickness
                                                                                                                    in the warp.
                                                                                                                        In this case too, a preparatory brown colored layer was identified in the cross-sec-
                                                                                                                    tions, applied thickly with a brush over the whole surface, followed by a compact and
                                                                                                                    uniform two-layered imprimatura in reddish brown. The SEM-EDS analyses and the
                                                                                                                    laboratory spot tests highlighted a chalk-based composition, with marine aggregates
                                                                                                                    and animal glue for the preparation, additionally pigmented with Earth Colors. For the
                                                                                                                    imprimatura Red Ochre and Minium or Red Lead were identified in different quantities
                                                                                                                    for the two layers, using an oily medium for the binder16 [15].
                                                                                                                        Infrared photography did not reveal any well-defined underdrawing, probably be-
                                                                                                                    cause it was done by brush and with materials that are undetectable with this kind of
                                                                                                                    investigation. The negative result of the analysis, however, corroborates the art piece’s
                                                                                                                    reference to Novelli’s techniques who, as mentioned earlier, used a preliminary sketch
                                                                                                                    linked to the painting phase. Moreover, this procedure is quite conceivable for a paint-
                                                                                                                    ing with such a small format as the examined one.
                                                                                                                        From the scientific analyses (XRF and SEM-EDS), it was possible to determine the
                                                                                                                    palette, consisting of Brown Earths, Ochre, White Lead and a small quantity of Cin-
                                                                                                                    nabar17. The ruddiness of the complexion is a mixture of White Lead and Ochre while
                                                                                                                    the red of the lips and robe is mostly composed of Cinnabar; the greyish green drapes
                                                                                                                    and the dark background were obtained with a mix of Earth Colors, while the blue of
                                                                                                                    the mantle consists of a first dark full-bodied layer of Earth and Ochre-based colors,
                                                                                                                    probably in reference to the sketch, followed by a second blue and transparent layer,
                                                                                                                    obtained with Ultramarine blue18.
                                                                                                                        The identified pigments are typical for the referenced period and are consistent with
                                                                                                                    those found on other paintings by Monrealese, characterized by vibrant colors rich in
                                                                                                                    reds, greens and blues. In fact, the skin tones are generally a result of the traditional
                                                                                                                    mix of Earth Colors, with minimal percentages of Cinnabar and White Lead. For the
                                                                                                                    red background filler, Cinnabar was found mixed with Earth Colors combined with
                                                                                                                    small quantities of White Lead in the green layers. The blues are visible, mainly, on the
                                                                                                                    Virgin’s mantle, enriched using valuable Lapislazuli.
                                                                                                                        In the compositional sequence, the figure of the Virgin emerges from the back-
                                                                                                                    ground as a first base through transparent coatings in correspondence with the shad-
                                                                                                                    ows and middle tones, which gradually become full-bodied strokes in the light colors,
                                                                                                                    on the drapes and in the anatomical details19. On the latter, the artist has dedicated
                                                                                                                    more time as witnessed by the marks left by the brush that accompany the outline of
                                                                                                                    the face. Particular interest is directed towards the pure white traits (White Lead) ap-
                                                                                                                    plied with rather fuller brushstrokes, visible on the nose and the forehead in the areas
                                                                                                                    of maximal light. These details correlate perfectly with the typical “signature” highlights
                                                                                                                    found on the numerous Sicilian art pieces by Novelli that were researched in order to
                                                                                                                    make fitting comparisons (Figures 8-10).


                                                                                                              160
Figure 8. Pietro Novelli (attr.), Our Lady of Sorrows, first half of the 17th century, oil on canvas,
63,3 x 50 cm, Palazzo Alliata di Villafranca, Palermo, detail of the nose and the mouth. Novelli’s
characteristic highlights can be clearly observed.




                                                                                                              CONSERVATION SCIENCE IN CULTURAL HERITAGE
Figure 9. Pietro Novelli, The Annunciation, ca. 1641-1642, oil on canvas, 306 x 220 cm, Galleria
Interdisciplinare Regionale della Sicilia - Palazzo Abatellis, Palermo, detail of Archangel’s nose
and mouth.




Figure 10. Pietro Novelli, The Last Communion of Saint Mary Magdalene, 1641-1642, oil on
canvas, 306 x 220 cm, Galleria Interdisciplinare Regionale della Sicilia - Palazzo Abatellis,
Palermo, detail of Mary Magdalene’s nose and mouth.


                                                                                                        161
                                                                                                                        4.3. Conclusions

                                                                                                                        As described above, it follows that the Our Lady of Sorrows conforms perfectly
                                                                                                                    to17th century traditions, which favored the medium of linen fibers in plain weave
                                                                                                                    and sparse density, with preparatory layers and imprimatura applied in reddish brown
                                                                                                                    tones. The composition of these layers indicates an extensive use of Earth Colors to
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                    be exploited in the successive paint layers, using typical 17th century materials as a
                                                                                                                    base diluted with oil as a binding medium.
                                                                                                                        The identification of the constituent materials together with the stylistic evaluation
                                                                                                                    have allowed the original attribution to the school of Novelli to be maintained.
                                                                                                                        However, the technical observations subsequently led to further detailed research,
                                                                                                                    involving the recovery, in particular, of the artifact’s peculiar details when carrying out
                                                                                                                    the restoration procedure.
                                                                                                                        Yet again, the accurate examination of the execution procedure and the composi-
                                                                                                                    tional sequence has enabled the painting to be associated not only to a school, but
                                                                                                                    also to a specific artist, namely Novelli, since the distinctive traits of the famous painter
                                                                                                                    were accurately identified.
                                                                                                                        The information that emerged during the restoration process also found support in
                                                                                                                    the favorable positions taken by Professor M. C. Di Natale and Professor M. Vitella,
                                                                                                                    who followed the various phases of the restoration work to then confirm the evident
                                                                                                                    similarities between the examined painting and Novelli’s other works.
                                                                                                                        Therefore, it is suggested that the painting of Our Lady of Sorrows in Palazzo Alliata
                                                                                                                    di Villafranca may be attributed to the painter Pietro Novelli, even if said attribution is
                                                                                                                    still waiting further verification and cultural and art-historic research.


                                                                                                                        Acknowledgements

                                                                                                                        Special thanks to: the Archdiocese of Palermo and all employees; Monsignor Gi-
                                                                                                                    useppe Randazzo, Director of the Museo Diocesano of Palermo; Dr. Domenico Ang-
                                                                                                                    ileri, Villa Sant’Isidoro de Cordova of Bagheria (PA); Professor Vincenzo Abbate, Sci-
                                                                                                                    entific Curator of the art-historical collections of Museo Mandralisca of Cefalù (PA);
                                                                                                                    Don Silvio Sgrò, Principal of the Seminario Arcivescovile of Palermo; Professor Ma-
                                                                                                                    ria Concetta Di Natale and Professor Maurizio Vitella, respectively tenured Faculty
                                                                                                                    Member and Department Director and Associate Professor of the Dipartimento di Cul-
                                                                                                                    ture e Società, Scuola delle Scienze Umane e del Patrimonio Culturale, University of
                                                                                                                    Palermo; Professor Bruno Pignataro and Dr. Claudia Pellerito, respectively Associate
                                                                                                                    Professor and Researcher of the Dipartimento di Fisica e Chimica (DiFC), Scuola delle
                                                                                                                    Scienze di Base e Applicate, University of Palermo; Dr. Cosimo Di Stefano, Account-
                                                                                                                    able Manager of the Laboratorio di chimica (S9.5 - Unità Operativa 5), Centro Region-
                                                                                                                    ale per la Progettazione e per il Restauro e per le Scienze Naturali ed Applicate ai Beni
                                                                                                                    Culturali (CRPR) of Palermo.

                                                                                                                        Notes
                                                                                                                    1
                                                                                                                     Particularly interesting is the comparative evaluation of the well-known Mona Lisa by Leonardo
                                                                                                                    da Vinci and its copies which includes the historical anamneses and technical comparisons sup-
                                                                                                                    ported by specific non-invasive diagnostic investigations. As proof of the importance of the tech-
                                                                                                                    nical and scientific evaluations, an example is given here. Results of the infrared investigations of


                                                                                                              162
the version kept at the Museo Nacional del Prado of Madrid revealed the procedure of execution
of the copyist, who produced his work by following each phase of the original model starting from
the underdrawing; this fact was proved by the presence of the same corrections and small chan-
ges as those on the Louvre Mona Lisa in Paris and its copy.
2
   In the last few years of his life Pietro Novelli was appointed architect of the Senate of Palermo
and engineer of the Kingdom and was also compared to Apelles and Michelangelo.
3
  Amongst the documented apprentices of Pietro Novelli are Francesco Gysello and Giacomo Lo
Verde who, in 1625, were appointed respectively as workshop apprentice and assistant, as well
as Francesco Munti summoned by Monrealese in 1645.
4
  A recent study was carried out on the Christ Falling on the way to Calvary of Raffaello (Raphael)
Sanzio, also known as Lo Spasimo di Sicilia (dated 1517) and today kept at the Museo Nacional
del Prado of Madrid. The study shows how the phenomenon of accurate copies or free interpreta-
tions inspired by a prototype had been established from as early as the 16th century. Indeed, the
fortune of Raphael’s model produced a wide diffusion of versions made at the same time as the
artist from Urbino’s work, above all in Sicily, that continued in the following years. They include
engravings, drawings, tapestries, paintings on canvas, frescoes, polychrome majolicas and of
course copies on wood. There are also examples of plastic art such us low-reliefs, stuccoes or
sculptural compositions found throughout Sicily.
5
   Mention should also be made of the engravings by C. De Bernardis from the late 18th century,
the copies of E. Lo Presti and A. Licata from the end of the 19th century and those by R. Gurrieri
from the mid-20th century.
6
   During restoration of the church, a portion of the fresco of approximately 1 m2 was discovered;
the precious artwork is still waiting for the necessary recovery work to be completed.
7
   The study and investigation of the technical and conservative characteristics of David with the
Head of Goliath of Bagheria were carried out during the restoration designed and performed by
Dr. Mauro Sebastianelli in the period September 2013 - February 2014.
8
  An anchoring system employing cane nails with a triangular section fixed along the edge of the
frame was found: this procedure is characteristic of the 17th century and assesses the originality
of the painting, validated moreover by the absence of holes caused by later nails.
9
   This aspect was verified by visual analysis of the painting layers’ lacunae and observation of
the cross-sections under optical microscope. Afterward, the data was confirmed by the chemical
characterization of the materials with scanning electron microscopy and energy dispersive X-ray




                                                                                                                CONSERVATION SCIENCE IN CULTURAL HERITAGE
spectroscopy (SEM-EDS): the use of calcium carbonate, silicates and earth pigments for the
preparatory layer was evidenced by the presence of high amounts of Ca and of Mg, Al and Fe;
in additions to these components, for the imprimatura, small amounts of Pb were found. SEM-
EDS analysis was carried out by Dr. Claudia Pellerito, Researcher at the Dipartimento di Fisica e
Chimica (DiFC), Scuola delle Scienze di Base e Applicate, of the University of Palermo. A Philips
Quanta FEI 200 Environmental Scanning Electron Microscope (ESEM) equipped with an energy
dispersive X-ray spectrometer (EDS) by Link Analytical Oxford (Link, UK), model 6103, was used.
10
    In the Malibu version too, the finer lines of the background filling of the shadows provide glimps-
es of the preparatory layers that have the same colors as those of the Sicilian painting and other
studied artworks.
11
    Two representative examples of Novelli’s singular procedure are the paintings on canvas repre-
senting Saint Francis of Paola (1635) and The Last Communion of Saint Mary Magdalene (1641-
1642) respectively kept at the Museo Diocesano and the Galleria Interdisciplinare Regionale della
Sicilia - Palazzo Abatellis of Palermo. In the first case the thickness of the layers emphasizes the
wrinkles of the saint and the skillfully oriented small linear brushstrokes make the beard appear
real. In the same way on the second painting the single brushstrokes of subtle color, applied with
the tip of the paintbrush, mimic perfectly the eyelashes and the eyebrows of Mary Magdalene.
12
    The SEM-EDS identification of pigments was carried out due to the presence of peaks cor-
responding to the following elements: Si, Mg, Al, Fe and Mn (Umber or Sienna) for the brown
background; Hg (Cinnabar) mixed with Si, Mg, Al and Fe (Earth Colors) and small quantities of
Pb (White Lead) for the red drapery; Pb (White Lead) mixed with Si, Mg, Al and Fe (Earth Colors)
for the skin tone.
13
    This feature is particularly pronounced in the aforementioned The Last Communion of Saint


                                                                                                          163
                                                                                                                    Mary Magdalene, where the highlights of the main figure’s eyes are more evident and lend real-
                                                                                                                    ism to the tears running down her cheeks.
                                                                                                                    14
                                                                                                                       The restoration and the technical studies were designed and performed by Dr. Mauro Sebas-
                                                                                                                    tianelli in the period January - April 2016. The research was also the subject of a thesis for a five-
                                                                                                                    year degree, entitled Studio e restauro della Madonna Addolorata di Palazzo Alliata di Villafranca:
                                                                                                                    prime considerazioni sulla tecnica esecutiva di Pietro Novelli per una possibile attribuzione: stu-
M. Sebastianelli - Technical and scientific research as an aid to art historians in the attribution of art works




                                                                                                                    dent, Edoardo La Francesca, restorer, Mauro Sebastianelli, supervisor, Maurizio Vitella, repre-
                                                                                                                    sentatives, Claudia Pellerito, Cosimo Di Stefano, for the Corso di Laurea Magistrale a Ciclo Unico
                                                                                                                    in Conservazione e Restauro dei Beni Culturali LMR/02, University of Palermo, A.Y. 2014/2015.
                                                                                                                    15
                                                                                                                       During the restoration and in particular, during the cleaning phase the observation in raking light
                                                                                                                    highlighted the imprint of an ancient frame along the perimeter of the painting which coincided
                                                                                                                    with some lacunae in the paint layers. However, the absence of any other marks does not enable
                                                                                                                    us to establish if the signs are actually related to the original frame.
                                                                                                                    16
                                                                                                                       SEM-EDS analyses were also carried out for the Our Lady of Sorrows by Dr. Claudia Pellerito
                                                                                                                    of the University of Palermo. The following results were obtained: peaks of Ca and S (calcium
                                                                                                                    sulphate) with the presence of Si, Mg and Fe (Earth Colors) for the preparatory layer; silicates and
                                                                                                                    oxides for the first layer of imprimatura because of the presence of high amounts of Pb (Minium
                                                                                                                    or Red Lead), traces of Fe (Red Ochre) and orange-colored granules; same composition for the
                                                                                                                    second layer with smaller percentages of Pb (Minium or Red Lead) and higher Fe (Red Ochre
                                                                                                                    and Umber). The spot tests for the identification of the binding media were performed at the Res-
                                                                                                                    toration Laboratory of the Archdiocese of Palermo. The results of the analytical test revealed that
                                                                                                                    the preparatory layer has a proteinaceous binding medium, while the imprimatura is composed of
                                                                                                                    an oily binding medium. The scientific analyses, extended to other artworks by Novelli, revealed
                                                                                                                    the presence of aggregates from marine environments, such us sand and ground shells in the
                                                                                                                    composition of the preparatory layers. The use of these materials is quite common among other
                                                                                                                    painters working in Sicily between the late 16th century and the first half of the 17th century. Al-
                                                                                                                    though not Sicilian, some of these artists showed a preference for these aggregates during their
                                                                                                                    activity in Sicily.
                                                                                                                    17
                                                                                                                       The X-ray fluorescence (XRF) analysis was carried out by Dr. Cosimo Di Stefano, Accountable
                                                                                                                    Manager of the Laboratorio di chimica (S9.5 - Unità Operativa 5) of the Centro Regionale per la
                                                                                                                    Progettazione e per il Restauro e per le Scienze Naturali ed Applicate ai Beni Culturali (CRPR) of
                                                                                                                    Palermo. The portable instrument ASSING Lithos 3000 was used.
                                                                                                                    18
                                                                                                                       The SEM-EDS analysis identified the following peaks: Pb, Mg and Fe for the complexion; Hg
                                                                                                                    for the lips and the red sleeves; Si, Mg and Fe for the grayish-green drapes and the brown back-
                                                                                                                    ground; Si, Mn and Fe for the first layer of the blue mantle; Fe and S for the second layer.
                                                                                                                    19
                                                                                                                       The abrasions of the surface at times highlighted the sequence of the layers: the dark blue man-
                                                                                                                    tle, for example, is superimposed on the grayish-green drapes while the red sleeves of the tunic
                                                                                                                    have been painted over the flesh tones. Moreover, visual observation allowed the hypothesis of
                                                                                                                    a pentimento in correspondence with the neck to be formulated in which the green drapery was
                                                                                                                    probably modified by a downward repositioning through an additional layer of flesh tones.



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      Biographical notes

   Mauro Sebastianelli is a restorer who trained at the ICR in Rome (today ISCR);
he graduated with a degree in Tecnologie per la Conservazione e il Restauro dei Beni
Culturali, at the University of Tuscia in Viterbo. He has worked in conservation and
restoration of art-historical artifacts since 1993. Since 2004 he has been responsible
for the Conservation and Restoration of the works of art connected to the Archdiocese
and the collections of the Museo Diocesano in Palermo. He is a contracted Professor
of Restoration Theory and Techniques at the University of Urbino “Carlo Bo”, and has
lectured on the Corso di Laurea Magistrale a ciclo unico in Conservazione e Restauro
dei Beni Culturali at the University of Palermo since 2007. He is the author of numer-
ous scientific publications and articles, a keynote speaker and thesis supervisor. He is
the creator and curator of the series Storia, tecnica e conservazione in Sicilia.


                                                                                                165
