The object of this study is unusual for both its material and technique. It is an oil painting on sheets of paper glued to a canvas made of linen fibres, thereby showing some execution peculiarities. It depicts the Virgin of Thessalonica in a hieratic attitude. The painting is attributed to the Salento-born artist Giuseppe Verrio (1639) for the church of the Theatine religious Order in Lecce, Italy, in which it is still placed, on the left altar of the transept. To truly understand and appreciate a work of art, it is important to have a basic knowledge of the materials and techniques used by the artist. For a better understanding of the execution techniques and to study the original materials and those that have been added over time, the painting was examined using the following analytical techniques: microscopic examination of cross-sections, μ-Raman spectroscopy and pyrolysis gas chromatography-mass spectrometry (Py-GC-MS). The data indicate that Verrio used different earthy, mineral and manufactured pigments, an organic dye used only on the paper, oil as a binder, and varnish as a protectant. The results demonstrate that the latter are both original and due to a subsequent restoration.

中文翻译：

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Giuseppe Verrio（意大利莱切圣艾琳教堂）对圣艾琳原画布的分析调查*

这项研究的对象因其材料和技术而异。这是一幅粘在由亚麻纤维制成的画布上的纸上的油画，因此表现出一些执行特性。它以僧侣的态度描绘了塞萨洛尼卡的圣母。这幅画出自萨伦托出生的艺术家朱塞佩·维里奥（Giuseppe Verrio）（1639 年）为意大利莱切的 Theatine 宗教教团教堂而作，现在它仍然被放置在耳堂的左侧祭坛上。要真正理解和欣赏一件艺术品，对艺术家使用的材料和技术有基本的了解是很重要的。为了更好地理解执行技术并研究原始材料和随着时间的推移添加的材料，使用以下分析技术检查了这幅画：横截面的显微镜检查，μ-拉曼光谱和裂解气相色谱-质谱 (Py-GC-MS)。数据表明，Verrio 使用了不同的泥土、矿物和人造颜料，一种仅用于纸张的有机染料，油作为粘合剂，清漆作为保护剂。结果表明，后者既是原始的，也是由于随后的修复。