On March 25, the non-invasive diagnostic campaign officially began, marking the start of a months-long initiative led by the Academy of Fine Arts of Rome in collaboration with the LASR3 – Surface Analysis Laboratory of the National Institute for Nuclear Physics (INFN), Roma Tre section, along with other partner institutions. The initiative is part of the activities under Work Package 2 of the Enacting Artistic Research (EAR) project.
Focus on the Frescoes from the Tower of Pope Paul III Farnese
The campaign began with the analysis of a group of frescoes originating from several rooms of the Tower of Pope Paul III Farnese, once located on the Capitoline Hill. The frescoes, attributed to the circle of Perin del Vaga, were detached and entrusted to the Academy of Fine Arts of Rome during demolition work for the construction of the Monument to Victor Emmanuel II. Since 2005, they have been restored and preserved at the “Giacomo Acqua” Carabinieri barracks in Piazza del Popolo, and they continue to be the subject of ongoing study and scholarly debate.
Advanced Technologies to Reveal the Creative Process
The current investigations make use of infrared reflectography, a well-established technique in the field of artistic diagnostics, capable of uncovering hidden layers beneath the painted surface, such as underdrawings, sketches, and alterations. Digital analysis also enables the mapping of fresco execution techniques and the identification of pigments, providing essential data for accurate attribution and the development of conservation strategies.
Expanding the Scope: 19th and 20th Century Paintings
In addition to the Renaissance frescoes, the campaign also includes diagnostic investigations on a selection of 19th- and 20th-century paintings. These works comprise winning paintings from the National Artistic Fellowship (Pensionato Artistico Nazionale) by prominent artists such as Ferruccio Ferrazzi and Umberto Coromaldi. The analysis of these modern and contemporary artworks contributes to a broader understanding of painting techniques and materials, offering new insights into a less-studied segment of Italy’s artistic heritage from a scientific and technical perspective.