Among the so‐called “special effect” pigments, fluorescent ones play an important role, thanks to their application to a wide range of objects in everyday life. Also in the artistic field, they have been exploited since 1950s by several painters (among others Andy Warhol and Frank Stella), thus representing a particular class of materials with which conservators must confront themselves. Not much information is available about the complete composition of commercial fluorescent paints that are based on fluorescent dyes dispersed in a transparent and brittle resin. Herein, Fourier‐transform Raman spectroscopy and surface‐enhanced Raman spectroscopy (SERS) were used to recognize the main dye components of the paints, whereas thin‐layer chromatography was coupled with SERS to better distinguish further chromophore mixes responsible for the color and/or the fluorescence emission due to the presence of optical brighteners. This methodology results suitable to more fully define the composition of such fluorescent paints originally used by artists in their works, thus providing valuable information to conservators for restoration and retouching efforts.

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Several types of (mostly) blue-green glass beads from Iron-Age archaeological sites in Central Italy were studied using a range of spectroscopic techniques: portable X-Ray Fluorescence spectrometry, Fibre Optics Reflectance Spectroscopy, Scanning Electron Microscopy coupled with Energy Dispersive X-ray Spectrometry, micro-Raman spectroscopy and Laser Ablation Inductively Coupled Plasma Mass Spectrometry. Complementary information was gathered from each technique and discussed in the frame of the archaeological typology of the objects. The systematic evaluation of the results allowed us to draw some conclusions on the raw materials employed for primary production and to highlight some provenance indicators in the glass. Some of the beads found in the Iron Age (IA) contexts were preliminarily attributed to the Final Bronze Age (FBA) production based on their typology, and the compositional data obtained in this work confirmed that they were low magnesium high potassium (LMHK) glass, typical of FBA in the Italian peninsula. Other beads were assigned to low magnesium glass (LMG) or high magnesium glass (HMG), thus giving further information on the fluxing agents employed in the Early Iron Age (EIA) and beyond. Colour variations among the beads reflected their chemical composition, with different bead typologies coloured in a specific way. In some instances, it was possible to establish different origins for the colouring raw materials. The provenance of the samples was difficult to place, but the chemical evidence suggested a subdivision within the raw glass used to produce the beads: for one set of samples, a local origin of the glass could be hypothesised, whereas several production sites in the Near East were suggested for most of the beads considered in this study. Some preliminary clues for the local working of imported glass were also highlighted for one typological group.

Different painting techniques, materials and application methods that characterise contemporary artworks, with predominantly matt surfaces and uniform tones, make retouching one of the most complicated conservation treatments, since sameness is the main target. The retouching intervention carried out at the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome on Tempi prospettici (1969), an installation by the Italian artist Carlo Alfano, gave the opportunity to investigate a method to obtain different matt/glossy values through the use of natural polymers as binders. The binders chosen (different polysaccharides, cellulose derivatives and isinglass) were analysed, both individually and mixed, through colorimetric and glossmetric measurements. The pigment-binder ratio and the addition of silica to get a modulation of the matt appearance of paint formulations were also evaluated. The comparation of the colorimetric values of painting samples and those of the original paint led to the identification of the best solution for the retouching of the artwork