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It was noted in particular that in the case of the two side strips making up the stretcher there is a perfect correspondence between the holes currently present in the canvas and the holes in the underlying stretcher.Attached please find photos of the two sides with a red arrow showing the holes in the canvas which match those in the stretcher underneath (photos no.2, no.3 and no.4).These observations therefore attest to the fact that the signature is contemporary with the painting.
A careful preliminary examination of the edges brought to light the presence of a set of new nails, whilst there are numerous free holes left by preceding nails.
All the above features are typical of an authentic craquelure which has formed naturally and begin to be noticeable about The microscopic examination of the signature (macro photos no.7, and no.8) evidenced its uniformity with the rest of the painting: it can be seen, in fact, that the colour has worn to the same degree, especially in the more protruding areas, and has not penetrated into the fissures of the craquelure as would have been the case if the signature had been inscribed onto a painted surface that was already old.
Examination under Woods light also showed that the reactions of the signature were comparable to those of the rest of the painting (photo no.9 taken under Woods light).
Having thus ascertained that at least the two side strips of the stretcher are unquestionably original and coeval with this painting, we proceeded to date them scientifically.
The spectroscopic analysis of the wood gave the following results: Many areas of the painting evidence a deep, extensive craquelure.