The material characterization of nineteenth-century artifacts is of great interest, due both to the breakthrough technological advances and to the unprecedented spread of forgeries of antiquities which took place in that period. However, this type of artifacts has been largely overlooked in the past. In this paper we present the compositional analysis of gold jewels by the Castellani, one of the most important families of goldsmiths in nineteenth-century Europe. The use of a portable micro-XRF spectrometer, specifically developed for jewellery analysis at the Centro Nacional de Aceleradores (Seville), allowed us to analyse, in a completely non-invasive way, the alloys, joining techniques and surface treatments of the jewels of the Castellani collection at the National Etruscan Museum of Villa Giulia in Rome. The addition to the spectrometer of a second X-rays detector with a zinc filter allowed us to check the possible presence of low amounts of cadmium, a metal added to gold soldering only from the nineteenth century and often used in authenticity studies. Moreover, the relative intensities of the Au X-ray lines were studied in order to check non-invasively the presence of surface enrichments in gold.

One of the main goals of preventive conservation (PC) is to reduce the risk of possible damage produced by the interaction between tangible heritage objects and their conservation environments. This work aims to introduce the European standard EN 15757:2010 as a potential tool for implementing effective museum PC, and it details the potential contributions of both active environmental control and Internet of Things (IoT) technologies in this regard. An application of this strategy is proposed by means of a case study of the conservation of two historical violins, part of a small but significant museum collection in the City of Genoa dedicated to Paganini, whose value is inestimable. According to the standard, monitoring of environmental parameters was carried out for more than four years in the Paganini Hall of Palazzo Doria-Tursi Museum. A remote-control system was implemented, installing digital sensors in the room and in the two showcases. The data were continuously collected through an integrated platform for supervision, monitoring and shared management, based on web-cloud-IoT technology. The analysis of climate data and the assessment of the “historic climate” led to the installation of an active control system on the display cases of the “Cannone” violin and its historical copy. The intervention resulted in a cost-effective improvement in the conservation conditions of the two objects, with an efficient system of warning and safety alarms and a protocol of resolution actions still active and ongoing. The application of IoT systems in monitoring and controlling the indoor climate of heritage collections facilitated the care of the objects at a cost reduction for the institution.

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Wooden Panel Paintings (WPP) are among the most significant historical and artistic artifacts from the Middle Ages and Renaissance and pose a challenge to conservators and scientists in both their comprehension and conservation. From a structural point of view, they can be considered as multi-layered objects, consisting of a wooden support and several pictorial layers. The wooden support, hygroscopic in nature, constantly seeks equilibrium with the humidity of the environment, and consequently deforms. Based on a series of hygroscopic tests carried out on six original WPPs, the present work aims to model their deformation tendencies induced by moisture changes and to characterise them by means of an inverse identification process. The sensitivity analysis of this study provided valuable insights into the complexity of the phenomenon of WPP deformation: even small variations in input variables (board anatomy, stiffness and emissivity of pictorial layers) led to significant changes in the deformation trend over time, highlighting the high variability of the physical problem under investigation. Sobol's analysis variance confirmed this complexity, demonstrating the different levels of influence of input variables and the existence of interactions between them. Overall, the results of this analysis highlighted the need to carefully evaluate the interactions and uncertainties in input variables to fully understand the complexity of the system. The iterative optimization process led to numerical results tending to agree with experimental data, with most results showing a very high correlation. This suggests that the chosen variables and modelling assumptions sufficiently described the physical system and that numerical models can be accurately calibrated. The proposed concept of 'learning from objects', by conducting experimental investigations specifically dedicated to understanding the deformation tendencies of the artwork, is essential. In this approach, numerical analysis is used in conjunction with experiments to gain a deeper understanding of the artwork, characterise it and extract valuable information.