Digital art history is currently moving into a new phase. As a result of the ongoing digitization of artifacts and the creation of large digital repositories that bring together literary sources, images, as well as historical and technical data, new perspectives point to data mining and data/image processing. This article reviews some of the main data and image bases that deal with technical and material studies on works of art. The work-in-progress, Technical Data/Image Base on Caravaggio and His Followers, of the Max Planck Institut für Kunstgeschichte/Bibliotheca Hertziana (Rome, Italy) is presented within a historical and theoretical framework, describing the establishment of technical research in art history and the role played as early as 1930 by the International Conference for the Study of Scientific Methods in the Examination and Conservation of Artworks (Rome). The state of the art of technical research on the Italian painter Michelangelo Merisi, Il Caravaggio (1571–1610) and its critical issues are also sketched out, and the nature of the scientific information provided by digital multispectral imaging is considered within a brief review of the history of technical images.

中文翻译：

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数字工具和技术观点：关于卡拉瓦乔及其追随者绘画技术的数字档案中数字艺术史和技术艺术史的交集

数字艺术史目前正在进入一个新阶段。由于人工制品的持续数字化以及汇集文学资源、图像以及历史和技术数据的大型数字存储库的创建，新的视角指向数据挖掘和数据/图像处理。本文回顾了一些处理艺术作品技术和材料研究的主要数据和图像库。Max Planck Institut für Kunstgeschichte/Bibliotheca Hertziana（意大利罗马）正在进行的工作，基于卡拉瓦乔及其追随者的技术数据/图像在历史和理论框架内呈现，描述了艺术史技术研究的建立以及早在 1930 年国际艺术品检查和保护科学方法研究会议（罗马）所发挥的作用。还概述了意大利画家米开朗基罗·梅里西 (Michelangelo Merisi, Il Caravaggio，1571-1610) 及其关键问题的技术研究现状，并在简要回顾中考虑了数字多光谱成像提供的科学信息的性质技术图像的历史。