The principal aim of the in situ X‐ray fluorescence (XRF) analysis on the canvas “The Coronation of the Virgin” was to characterise the colour palette of Carlo Bononi (Ferrara, 1580–1632), a lesser‐known artist of the early Baroque period in Ferrara. More than 100 points were collected by means of an XRF spectrometer, but the presence of many overlapping painted layers left some doubts about the preparation and the background layers. The scanning electron microscopy with energy dispersive spectrometer analysis on two samples resolved some of these doubts. The results obtained indicate the use of typical 17th century pigments, such as lead white, vermilion, azurite and a copper‐based green. For yellow pigments, the artist used the yellow ochre in some cases, while in others he used lead‐tin yellow. We also individuated at least three different shades of umber. Almost all the pigments have been identified and they are the first step in establishing the technical apparatus necessary to understand the modus operandi of the Ferrarese artist.

中文翻译：

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便携式X射线荧光设备揭示了费拉拉的巴洛克艺术家Carlo Bononi的艺术调色板

在画布“圣母加冕典礼”上进行原位X射线荧光（XRF）分析的主要目的是表征卡洛·博诺尼（Carlo Bononi）的调色板（费拉拉，1580–1632），这是早期鲜为人知的艺术家费拉拉的巴洛克时期。通过XRF光谱仪收集了100多个点，但是存在许多重叠的涂漆层，这对制备层和背景层产生了一些疑问。扫描电子显微镜用能量色散光谱仪分析了两个样品，解决了其中的一些疑问。获得的结果表明使用了典型的17世纪颜料，例如铅白，朱红色，石青石和铜基绿色。对于黄色颜料，艺术家有时使用黄used石，而在另一些情况下使用铅锡黄。我们还分别区分了至少三种不同的棕褐色。几乎所有的颜料都已被鉴定出来，它们是建立必要的技术设备以了解颜料的第一步。Ferrarese艺术家的作案手法。