I’m a research assistant working in the Non-invasive Diagnostic Laboratory of the University of Pavia in Cremona inside the Museo del Violino. I graduated in Science and Technology for the Cultural Heritage at the University of Padua, studying the alteration phenomena of pianos varnishes and analyzing the causes of degradation of industrial alkyd medium films in contemporary art paintings. Currently I’m carrying out scientific researches through X-Ray Fluorescence spectroscopy techniques applied to ancient stringed musical instruments. Supervisors: Marco Malagodi
This paper reports the results of several scientific analyses carried out on ten mandolins made i... more This paper reports the results of several scientific analyses carried out on ten mandolins made in the second half of the eighteenth century by the most important Neapolitan mandolin manufacturers such as the Filano, Fabricatore, Gagliano and Vinaccia families. Various elements of decoration were characterized for each mandolin: the resins of the sound hole decorations, the black wood strips of the purflings, the varnishes and the glues. Thanks to microscopy observations SEM-EDX, µFT-IR and µRaman analysis, a multi-technique approach was used in order to fully characterize and compare some of the decoration-making techniques peculiar of each family of makers. Shellac was the main organic material used both in the sound hole decorations and in the varnishes. Inorganic fillers such as aluminosilicates, particles of iron oxides/hydroxides and microfossils of diatoms were found within the false inlays. Black iron-based dyes were identified as dyes for the black wood strips of the purflings.
Musical instruments are tools for playing music, but for some of them—made by the most important ... more Musical instruments are tools for playing music, but for some of them—made by the most important historical violin makers—the myths hide the physical artwork. Ancient violin-making Masters developed peculiar construction methods and defined aesthetic canons that are still recognizable in their musical instruments. Recently, the focus of scientific investigations has been set on the characterization of materials and methods used by the ancient violin makers by means of several scientific approaches. In this work, the merits of synchrotron radiation micro-computed tomography and optical coherence tomography (OCT) for the investigation of complex coatings systems on historical bowed string musical instruments are discussed. Five large fragments removed during past restorations from instruments produced by Jacobus Stainer, Gasparo da Salò, Giovanni Paolo Maggini, and Lorenzo Guadagnini have been considered for a non-invasive insight by tomographic techniques and the results are discusse...
International journal of analytical chemistry, 2018
This study presents mid and near-infrared (7500-375 cm) total reflection mode spectra of several ... more This study presents mid and near-infrared (7500-375 cm) total reflection mode spectra of several natural organic materials used in artworks as binding media, consolidants, adhesives, or protective coatings. A novel approach to describe and interpret reflectance bands as well as calculated absorbance after Kramers-Kronig transformation (KKT) is proposed. Transflection mode spectra have represented a valuable support both to study the distorted reflectance bands and to validate the applicability and usefulness of the KK correction. The aim of this paper is to make available to scientists and conservators a comprehensive infrared reflection spectral database, together with its detailed interpretation, as a tool for the noninvasive identification of proteins, lipids, polysaccharides, and resins by means of portable noncontact FTIR spectrometers.
Organs have always been among the most important musical instruments in Europe. Because of their ... more Organs have always been among the most important musical instruments in Europe. Because of their highly complex mechanical systems and the wide variety of materials they are made of, such as metal, ivory, wood or paperboard, they are considered one of the hardest instruments to preserve. Particularly, the different materials used to make the pipes, mainly tin or lead alloys, are sensitive to environmental conditions such as temperature and moisture, and consequent decay. The alteration processes are mostly due to tin-pest development or to the oxidation. As a consequence, sound quality decreases or, in the worst cases, pipes are completely lost. The aim of this work is to investigate several Italian pipe fragments dating from the seventeenth to twentieth century, in order to: (1) analyse the raw materials and the traditional manufacturing of organ pipes, in relation to conservation issues; (2) characterize the particular decay processes; (3) outline a suitable methodological approach to characterize the most common alterations of metal organ pipes. For this purpose, during the analytical campaign, both non-invasive and micro-destructive methodologies were performed, i.e. stereomicroscopy observations, X-ray fluorescence analysis, scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy analysis and X-ray diffraction. The application of the proposed analytical procedure allowed the differentiation of the pipe fragments examined into several groups on the basis of original materials and morphological characteristics.
Historical bowed string instruments exhibit acoustic features and aesthetic appeal that are still... more Historical bowed string instruments exhibit acoustic features and aesthetic appeal that are still considered inimitable. These characteristics seem to be in large part determined by the materials used in the ground and varnishing treatments after the assembly of the instrument. These finishing processes were kept secret by the violinmakers and the traditional methods were handed down orally from master craftsmen to apprentices. Today, the methods of the past can represent a secret to be revealed through scientific investigations. The "Cremonese" methods used in the 17th and 18th centuries were lost as the last Great Masters from the Amati, Guarneri, and Stradivari families passed away. In this study, we had the chance of combining noninvasive and microinvasive techniques on six fragments of historical musical instruments. The fragments were detached from different instruments during extraordinary maintenance and restoration treatments, which involved the substitution of se...
In recent years, UV-induced fluorescence (UVIFL) photography has proven to be very effective when... more In recent years, UV-induced fluorescence (UVIFL) photography has proven to be very effective when studying the surface of historical musical instruments, such as violins. This technique makes it possible to highlight superficial details not clearly perceptible with visible light (e.g., retouchings, superficial distribution of varnishes, or wear). The data retrieved are also an important guide for further noninvasive spectroscopic analyses used when the chemical composition of the surface needs to be investigated. However, UVIFL imagery interpretation of a historical violin is no trivial task. In fact, constant playing and the multiple restorations over the centuries have produced very complex surfaces. This work presents an automatic tool designed to facilitate this kind of analysis. Using a quantized histogram in HSV color space, the distribution of the main fluorescence colors on an instrument’s surface can be highlighted, recurrence of the same color in different areas of the sam...
In the past, the practice of dyeing wood was very widespread, for instance for obtaining substitu... more In the past, the practice of dyeing wood was very widespread, for instance for obtaining substitutes for rare and expensive ebony, which was used for all marquetry techniques and especially for making inlays to decorate musical instruments. This study focuses on two traditional wood-dyeing procedures carried out with iron–gall dye and iron–logwood dye, respectively. In order to reproduce the ancient techniques, preparation of dyes and their application on two different wood species (poplar and pear) were carried out according to typical ancient recipes and traditions. Wood samples were dyed using mixtures similar to two of the most important historic iron inks, and several specimens (approximately 7 mm in size) were taken and investigated in order to: (1) gain a better insight into the processes involving the dyes and the wood matrices, (2) analyze the effects of the treatments on the anatomical wood structures, (3) evaluate the level of penetration of the dyestuffs into the samples. The analyses were performed after each step of the dyeing procedures, both on the wood samples and on the solutions. Various reaction processes were hypothesized after a micro-Fourier transform infrared spectroscopy analysis, performed in transflection and attenuated total reflection mode. The effects of the various treatments on the wood samples were studied by means of stereomicroscopy, polarized optical microscopy and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy. The results obtained suggested that both treatments cause alterations in the outer 300 µm of the wooden samples, and that a higher level of penetration was obtained with the hematein complex than with the iron-gall ink.
This paper reports the results of several scientific analyses carried out on ten mandolins made i... more This paper reports the results of several scientific analyses carried out on ten mandolins made in the second half of the eighteenth century by the most important Neapolitan mandolin manufacturers such as the Filano, Fabricatore, Gagliano and Vinaccia families. Various elements of decoration were characterized for each mandolin: the resins of the sound hole decorations, the black wood strips of the purflings, the varnishes and the glues. Thanks to microscopy observations SEM-EDX, µFT-IR and µRaman analysis, a multi-technique approach was used in order to fully characterize and compare some of the decoration-making techniques peculiar of each family of makers. Shellac was the main organic material used both in the sound hole decorations and in the varnishes. Inorganic fillers such as aluminosilicates, particles of iron oxides/hydroxides and microfossils of diatoms were found within the false inlays. Black iron-based dyes were identified as dyes for the black wood strips of the purflings.
Musical instruments are tools for playing music, but for some of them—made by the most important ... more Musical instruments are tools for playing music, but for some of them—made by the most important historical violin makers—the myths hide the physical artwork. Ancient violin-making Masters developed peculiar construction methods and defined aesthetic canons that are still recognizable in their musical instruments. Recently, the focus of scientific investigations has been set on the characterization of materials and methods used by the ancient violin makers by means of several scientific approaches. In this work, the merits of synchrotron radiation micro-computed tomography and optical coherence tomography (OCT) for the investigation of complex coatings systems on historical bowed string musical instruments are discussed. Five large fragments removed during past restorations from instruments produced by Jacobus Stainer, Gasparo da Salò, Giovanni Paolo Maggini, and Lorenzo Guadagnini have been considered for a non-invasive insight by tomographic techniques and the results are discusse...
International journal of analytical chemistry, 2018
This study presents mid and near-infrared (7500-375 cm) total reflection mode spectra of several ... more This study presents mid and near-infrared (7500-375 cm) total reflection mode spectra of several natural organic materials used in artworks as binding media, consolidants, adhesives, or protective coatings. A novel approach to describe and interpret reflectance bands as well as calculated absorbance after Kramers-Kronig transformation (KKT) is proposed. Transflection mode spectra have represented a valuable support both to study the distorted reflectance bands and to validate the applicability and usefulness of the KK correction. The aim of this paper is to make available to scientists and conservators a comprehensive infrared reflection spectral database, together with its detailed interpretation, as a tool for the noninvasive identification of proteins, lipids, polysaccharides, and resins by means of portable noncontact FTIR spectrometers.
Organs have always been among the most important musical instruments in Europe. Because of their ... more Organs have always been among the most important musical instruments in Europe. Because of their highly complex mechanical systems and the wide variety of materials they are made of, such as metal, ivory, wood or paperboard, they are considered one of the hardest instruments to preserve. Particularly, the different materials used to make the pipes, mainly tin or lead alloys, are sensitive to environmental conditions such as temperature and moisture, and consequent decay. The alteration processes are mostly due to tin-pest development or to the oxidation. As a consequence, sound quality decreases or, in the worst cases, pipes are completely lost. The aim of this work is to investigate several Italian pipe fragments dating from the seventeenth to twentieth century, in order to: (1) analyse the raw materials and the traditional manufacturing of organ pipes, in relation to conservation issues; (2) characterize the particular decay processes; (3) outline a suitable methodological approach to characterize the most common alterations of metal organ pipes. For this purpose, during the analytical campaign, both non-invasive and micro-destructive methodologies were performed, i.e. stereomicroscopy observations, X-ray fluorescence analysis, scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy analysis and X-ray diffraction. The application of the proposed analytical procedure allowed the differentiation of the pipe fragments examined into several groups on the basis of original materials and morphological characteristics.
Historical bowed string instruments exhibit acoustic features and aesthetic appeal that are still... more Historical bowed string instruments exhibit acoustic features and aesthetic appeal that are still considered inimitable. These characteristics seem to be in large part determined by the materials used in the ground and varnishing treatments after the assembly of the instrument. These finishing processes were kept secret by the violinmakers and the traditional methods were handed down orally from master craftsmen to apprentices. Today, the methods of the past can represent a secret to be revealed through scientific investigations. The "Cremonese" methods used in the 17th and 18th centuries were lost as the last Great Masters from the Amati, Guarneri, and Stradivari families passed away. In this study, we had the chance of combining noninvasive and microinvasive techniques on six fragments of historical musical instruments. The fragments were detached from different instruments during extraordinary maintenance and restoration treatments, which involved the substitution of se...
In recent years, UV-induced fluorescence (UVIFL) photography has proven to be very effective when... more In recent years, UV-induced fluorescence (UVIFL) photography has proven to be very effective when studying the surface of historical musical instruments, such as violins. This technique makes it possible to highlight superficial details not clearly perceptible with visible light (e.g., retouchings, superficial distribution of varnishes, or wear). The data retrieved are also an important guide for further noninvasive spectroscopic analyses used when the chemical composition of the surface needs to be investigated. However, UVIFL imagery interpretation of a historical violin is no trivial task. In fact, constant playing and the multiple restorations over the centuries have produced very complex surfaces. This work presents an automatic tool designed to facilitate this kind of analysis. Using a quantized histogram in HSV color space, the distribution of the main fluorescence colors on an instrument’s surface can be highlighted, recurrence of the same color in different areas of the sam...
In the past, the practice of dyeing wood was very widespread, for instance for obtaining substitu... more In the past, the practice of dyeing wood was very widespread, for instance for obtaining substitutes for rare and expensive ebony, which was used for all marquetry techniques and especially for making inlays to decorate musical instruments. This study focuses on two traditional wood-dyeing procedures carried out with iron–gall dye and iron–logwood dye, respectively. In order to reproduce the ancient techniques, preparation of dyes and their application on two different wood species (poplar and pear) were carried out according to typical ancient recipes and traditions. Wood samples were dyed using mixtures similar to two of the most important historic iron inks, and several specimens (approximately 7 mm in size) were taken and investigated in order to: (1) gain a better insight into the processes involving the dyes and the wood matrices, (2) analyze the effects of the treatments on the anatomical wood structures, (3) evaluate the level of penetration of the dyestuffs into the samples. The analyses were performed after each step of the dyeing procedures, both on the wood samples and on the solutions. Various reaction processes were hypothesized after a micro-Fourier transform infrared spectroscopy analysis, performed in transflection and attenuated total reflection mode. The effects of the various treatments on the wood samples were studied by means of stereomicroscopy, polarized optical microscopy and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy. The results obtained suggested that both treatments cause alterations in the outer 300 µm of the wooden samples, and that a higher level of penetration was obtained with the hematein complex than with the iron-gall ink.
ANGELI Le tavolette da soffitto dell'antico Ospedale San Matteo di Pavia. A cura di Anna Letizia Magrassi Matricardi, 2022
Nel quattrocentesco Ospedale San Matteo di Pavia-come scrive Renata Crotti-si adottò il concetto ... more Nel quattrocentesco Ospedale San Matteo di Pavia-come scrive Renata Crotti-si adottò il concetto della bellezza come terapia: l'attenzione al malato si esprime plasticamente anche nella scelta di decorare magnificamente il soffitto ligneo per favorire il benessere non solo fisico ma anche e soprattutto spirituale dei degenti. A questo mira l'invito di fra Domenico da Catalogna, fondatore dell'Ospedale, in una lettera agli amministratori del San Matteo là dove scrive: "fate che quella infirmaria splendisca come il cielo stellato in una notte serena", uno splendore che si ritrova nel soffitto ligneo dell'imponente struttura a crociera dove trova posto un'eccezionale decorazione pittorica, con migliaia di tavolette recanti ciascuna un busto d'angelo di straordinaria bellezza. (a cura di Anna Letizia Magrassi Matricardi)
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