Multispectral Imaging Documentation Report on a Sicilian devotional painting.

1. UVF
Losses and retouches appear as black spots
under ultraviolet light

2. UVR
Craquelure and morphology is more
evident in ultraviolet reflected imaging
since ultraviolet light is reflected by the
varnish which on the other hand is
transparent for visible light.
UVR
Ultraviolet Reflected can provide
information on the pigments. The white
pigment used for the highlights is probably
lead white but not for sure titanium white –
its modern alternative – since it looks bright
in this imaging since it is bouncing off
ultraviolet light. Titanium white on the
contrary absorbs UV.

3. IR
In the infrared image it’s more obvious the
fluid and thin preparation which was given
with a large and flat brush.
IR
The layering build up of this painting is quite essential. Under the
yellow ochre of hair there is just the thin preparation which shows
the bare canvas. On the other hand lead white on the face is much
more opaque to the infrared and doesn’t allow to see through it.

4. IRFC
The blue mantle shows a red false color
suggesting ultramarine blue.
IRFC
The green snake was painted probably with
green earth as pointed by the greenish false
color.

5. IRF
Red and yellow cadmium pigments have a
strong infrared fluorescence so their use
can be easily inferred.

6. IRTR
Losses appear as white dots due to the
increased transparency to the infrared
coming from the painting’s back side.
IRTR
Infrared transmitted allows to gather some
information on the layering of the painting.
Here is evident that the snake was painted
after the Madonna since there is no snake
under the Madonna’s feet.

7. IRR
Infrared Reflectography allows to see
through the more infrared-opaque
pigments. The 3 infrared methods —
Infrared (IR), Infrared Reflectography (IRR)
and Infrared Transmitted (IRTR) - do not
show an extensive underdrawing nor
pentimenti. Thus the painter show to be
well trained in this traditional devotional
composition.
This is the only evident sign of an
underdrawing. Probably the painter used
just few strokes to define all the
composition.