![]() ![]() ![]() These advanced imaging techniques include, multi-spectral imaging (MSI), hyper-spectral imaging (HSI), Macro X-Ray Fluorescence (Ma-XRF), and Time-Domain Terahertz imaging (THz-TDI), to name a few of the most significant. The well-established traditional methodologies, such as ultraviolet-induced fluorescence (UVF), infrared reflectography (IRR), X-ray radiography (XRR) are presently used together with more advanced techniques that enable the acquisition of multilevel information on pictorial materials, their distribution, and to some extent, also on their layering when suitable data-processing algorithms are used. Choosing the most suitable technique from the different available options depends on the size of the artwork, its value, the research interests and budget. When dealing with paintings, drawings, or other quasi-two dimensional (2D) art objects, imaging techniques are the preferred choice, not only for a preliminary evaluation of the conservation state of the artwork, but also for gaining knowledge on pigments and their distribution on the surface. In addition, monitoring over time is recommended in preventive conservation to safeguard artworks and prevent adverse actions of external agents (e.g., environmental agents, inappropriate microclimatic conditions, etc.). This approach is used to monitor the effectiveness of cleaning processes, restoration interventions, etc. Non-invasive techniques, as such, do not alter the surface under examination, and are suitable for long-term or periodic monitoring of the same area. Although not all these steps are always necessary, preliminary non-invasive analysis should always be recommended before starting any conservation or restoration procedure, in order to assist curators and conservators in their decision-making process. ![]() Usually, scientific investigation programs encompass a hierarchical use of analytical techniques, starting from non-invasive imaging techniques that are used for a preliminary screening and extensive evaluation of the surface, followed by non-invasive analytical spot techniques and, only when needed, as the last step, a complementary phase with micro-invasive techniques focused on investigating few suitable, selected points. ![]() Although they provide preliminary information on the materials and their distribution on the object’s surfaces, in most of cases, non-invasive techniques need a complimentary multimodal approach, in order to exhaustively characterize or identify all the materials. The latter, instead, are performed without sampling operations, and can be implemented as spot and as imaging techniques. However, these techniques offer more detailed information for identification purposes than non-invasive techniques. When dealing with cultural properties, the use of invasive techniques is discouraged since they require samples or micro-samples from investigated objects. Presently, both invasive and non-invasive approaches can be used in the study of these materials both have specific advantages and problems. In order to provide curators, scholars, conservators, archaeologists and conservation scientists with efficient tools for gaining knowledge of artifacts and archeological objects, it is important to study the materials and artists’ techniques used in creating the artworks and understand what restoration materials have subsequently been adopted in their preservation. The fundamentals of the various strategies, that have been developed for applying this technique to different types of artworks are discussed, together with some examples of recent applications. This article provides a brief overview of recent developments in the rapidly evolving applications of hyperspectral imaging in this field. Moreover, with the progressive transition from multispectral to hyperspectral imaging techniques, numerous new applicative perspectives have become possible, ranging from non-invasive monitoring to high-quality documentation, such as mapping and characterization of polychrome and multi-material surfaces of cultural properties. Since then, with continuous improvements in imaging technology, the quality of spectroscopic information in the acquired imaging data has greatly increased. Imaging spectroscopy technique was introduced in the cultural heritage field in the 1990s, when a multi-spectral imaging system based on a Vidicon camera was used to identify and map pigments in paintings. ![]()
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