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4.3 TECHNICAL INVESTIGATION

The Conservation Science Department analysed 32 samples from the front
and reverse of the painting using light microscopy

(LM)31,

scanning electron
microscopy with energy-dispersive x-ray detection

(SEM/EDX)32,

and gas
chromatography-mass spectrometry

(GC-MS).33

In order to study the paint
stratigraphy and the pigments and binding media used, 21 samples were
prepared as paint cross-sections. The inorganic components were determined
using SEM/EDX and the organic binding media classes for the individual
cross-section layers indicated through (histo-)chemical staining. Further
investigation and identification of particular binding media or mixtures was
generally undertaken using GC-MS analysis, on samples suitably prepared
or removed directly for that purpose. The methods employed also sought
to reveal or clarify changes in the substance of the object caused by damage
or past restoration measures.
The comparison of the investigation results from the current painting with
those from already analysed works by the same master from the museum’s
holdings as well as published studies from other collections made it possible
to gather information on the continuity of Garofalo’s painting technique.

31	 Axioplan2, Zeiss, Germany.
32	 FEI Quanta 200F with EDX system (energy dispersive x-ray detection).
33	 6890N gas chromatograph coupled with a quadrupole mass spectrometer, model

5973N, both Agilent Technologies, USA.

Fig. 26: Detail of the feathered headgear.

Fig. 27: Detail of the bow and arrow in the foreground, in front of
the sarcophagus.

Francesca Del Torre Scheuch, Ingrid Hopfner, and Sabine Stanek