Aimed at those interested in art preservation, conservation and restoration, this volume describes documentation and analytical techniques (such as X rays, ultraviolet fluorescence, visible spectrum photography and infrared reflectography) that are commonly used in the study and restoration of paintings. It will be of special interest to restorers (for whom it has been conceived), who need an in-depth knowledge of the main documentation and non-invasive analytical techniques and who must to take into account all the aspects and problematic issues associated with each work of art in their conservation work. This volume aims to help the professional growth of the restorer/conservator, especially in the difficult task of selection and application of the most appropriate techniques and subsequently in the interpretation of results obtained through these methods.

Alfredo Aldovrandi graduated in physics from the University of Modena and has worked for the "Opificio delle Pietre Dure e Laboratori di Restauro" in Florence since 1983. As well as teaching physics and methods of scientific investigation, he is involved in the development and application of non-invasive analysis methods for artworks.
Marcello Picollo has a degree in geology from the University of Florence.He is collaborates with the Institute for the Study of Electromagnetic Waves at CNR and with the "Opificio delle Pietre Dure e Laboratori di Restauro" in Florence, researching spectroscopy applied to the study of works of art.

Organic solvents are perhaps the most commonly used products in the cleaning of polychrome and non-polychrome works of art, their widespread utilisation being explained by easy availability, low cost, effectiveness and apparent ease of use. However, because of these advantages their drawbacks, such as poor selectivity of action, risks for the operator’s health and concerns for safety in the workplace, are often underestimated. Furthermore, solvents are too often used in a mechanical or repetitive manner, without a real understanding of why and how they should be used. Tradition endorses their use, and often this is the only justification for the recourse to such highly toxic solvents. Nowadays, numerous alternatives exist, which are both more selective and less toxic, but these cannot fully replace solvents, which in many cases remain the only available option. Their use should be more restrained and responsible, limited to the less toxic and aggressive solvents. In addition, techniques exist that allow the use of solvents while at the same time respecting the structural integrity of the work. It is fundamental for restorers to adopt a more scientific and discerning approach to organic solvents, fully understanding their chemical, physical and toxicological characteristics, and to be able to foresee their possible interactions with a range of materials.

Paolo Cremonesi is a chemist-restorer; he is the Scientific Co-ordinator for CESMAR7 (Center for the Study of Materials for Restoration); he teaches chemistry for restoration at En.A.I.P. in Padua and collaborates with the Opificio delle Pietre Dure in Florence; he carries out instruction and applied research with various entities, institutions and private laboratories.

What is a laser? What phenomena occur during the cleaning of an art objects? What lessons have been learned and what knowledge has been gained in the last 30 years about this technology? The questions are many, and at present not all of them can be answered. Drawing on the experience of the author - a restorer who has made laser technology one of her main work tools - this book aims to introduce restorers to this innovative cleaning method, and attempts to objectively delineate what a laser can and cannot do, giving guidelines on the practical application, drawbacks and possible future developments of this technique. The volume also reflects on the need for greater dialogue between the technological, scientific world and the more practical, applied heritage and restoration sectors.

Anna Brunetto specialises in architectural restoration. She has been working with laser technology applied to the cleaning of works of art since 1991. She is currently an independent consultant for various restorers and heritage authorities.