Laser cleaning of bronze artefacts is a very promising conservation approach and its wider distribution would benefit from further studies of its advantages and drawbacks. Some important references are available, yet laser cleaning cannot be considered a traditional method for bronze surfaces. In this paper, we report on the evaluation of cleaning tests performed on an important statue of Napoleon, depicted as Mars the Peacemaker, cast by Righetti in 1811 after a model by Antonio Canova. The sculpture is exposed to the outdoor environment in the main courtyard of the Brera Gallery, Milan, Italy. An analytical survey of corrosion products was carried out using X-ray diffraction, micro-Fourier transform infrared spectroscopy (μFTIR), and μRaman spectroscopy; and scanning electron microscopy with energy-dispersive X-ray spectroscopy analysis was applied to cross-sections. The results showed the ubiquitous presence of brochantite Cu 4 (SO 4 )(OH) 6 . Antlerite Cu 3 SO 4 (OH) 4 is also occasionally present. Residues of an past conservation treatment (Incralac ® ) and of proteins were detected by μFTIR. Laser cleaning tests were carried out with an El.En. Combo laser, both in long Q-switched and short free-running regimes. Evaluation of the effects of cleaning was carried out with a portable microscope and a reflectance colorimeter. Moreover, a portable FTIR spectrometer was used in order to evaluate the presence of coating residues and corrosion products after cleaning. Electrochemical impedance spectroscopy was used in situ on a selection of the tested areas in order to characterize the effect of laser cleaning on the rate of corrosion. A specially designed contact probe was used for measurements in the frequency range 100 kHz-10 mHz both before and after cleaning.

The surface coating present on a marble Piety dating to the Renaissance period and stored at the Castello Sforzesco-Museum of Ancient Art (Milan, Italy) was studied and chemically characterised. For this purpose, both portable non-invasive (XRF and colorimetric measurements) and micro-invasive techniques (FTIR-ATR and SEM-EDS), have been applied. The statue has been recently submitted to a restoration, since its surface appeared dark and yellowed, before an exhibition at the Louvre Museum and the original appearance of the marble surface recovered thanks to the surface coating removal. Through the analytical characterisation carried out before and after the marble cleaning, the presence of a degradation layer composed by gypsum was evidenced on the stone. The origin of this layer is ascribable to the exposure of the statue to outdoor environment and interaction with atmospheric pollution. The chemical nature of the coating applied at the end of nineteenth century also responsible for the surface alteration was hypothesized.

This research aimed to characterise pigments used to decorate a polychrome earthenware bas-relief of the 15th century entitled “Madonna with Child, Saint Catherine of Siena, and a Carthusian Prior”, attributed to Giovanni Antonio Amadeo (Pavia, 1447–Milan, 1522) and owned by the Sforzesco Castle Museum of Milan. The artwork underwent a cleaning procedure whose aims were the removal of the dark coating that obscured its surface and restoration work that could bring back its original features. Before the cleaning, six microsamples were collected and analysed using optical microscopy (OM), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM-EDXS), and Fourier-transform infrared microspectroscopy in ATR mode (ATR-FTIR), providing the restorers with decisive information on the materials underlying the coating. After the cleaning, the terracotta appeared vibrantly coloured, mainly with bright red, blue, green, black, and white tones. Then, some in situ, non-destructive, spectroscopic measurements were performed by a portable Raman spectrometer on some of the areas that could not otherwise have been sampled. The analyses revealed the presence of natural pigments, including lead white, azurite, yellow ochre, carbon black, calcite, cinnabar, and gypsum. For Madonna’s mantle, cobalt and Prussian blue were employed. Furthermore, the presence of barium sulphate was widely evidenced on the bas-relief. Albeit cobalt blue is of synthetic origin, its presence is compatible with the 15th-century palette, whereas Prussian blue and barium sulphate could be imputed to a previous restoration. Finally, the use of true gold for the background of the earthenware attests to the artwork’s importance and value.

Alteration dark patinas and traces of colours present on the surface of a marble Piety dating to the Renaissance period and stored at the Castello Sforzesco-Museum of Ancient Art (Milan, Italy) were studied and chemically characterized. For this purpose, a multi-analytical approach based on both portable non-invasive (XRF and colorimetric measurements) and micro-invasive techniques (FTIR/ATR and SEM-EDS), has been applied. The statue has been recently submitted to a restoration before an exhibition at the Louvre Museum and the original appearance of the marble surface recovered thanks to the patina removal. Through the analytical characterization carried out before and after the marble cleaning, the presence of a degradation layer composed by gypsum was evidenced on the stone surface. The origin of this layer is probably ascribable to the exposure of the statue to outdoor environment and interaction with atmospheric pollution. The chemical nature of the coating applied at the end of 19th century and responsible for the patina formation was hypothesized. Finally, the use of pigments originally applied by means of an organic binder was also highlighted.