Experts from Nottingham Trent University have developed the new technology, which can see hidden details in paintings and enable improved conservation of precious artworks like BMAG’s Descent of the Holy Ghost (c.1500-1510) by Botticelli.
The method involves using a portable multispectral camera system that picks up details invisible to the human eye.
A special filter wheel captures frequencies beyond the visible light range, revealing new information about the paint layers and pigments used by the artist, which could help conservators identify and repair damage caused over time.
The process could also help with dating of works of art and identify any previous repairs carried out.
“The camera is perfect for in-situ examinations of paintings,” said Dr Haida Liang, Senior Lecturer in Physics at Nottingham Trent University.
“There is an increasing demand for the application of non-invasive techniques to the examination of cultural artefacts, due in part to the increased awareness of conservation ethics.”
The research undertaken in partnership with BMAG revealed hidden areas in the Botticelli painting including parts that had been over-painted. Areas of damage and past conservation were also revealed, along with cracks under the paint itself, which suggests the surface had cracked but the paint had not, meaning the paint must have been applied later.
Dr Stuart Burch, Senior Lecturer in History and Heritage at Nottingham Trent University, said: “Even if to the naked eye an area of paint appears to be one undifferentiated patch of colour, it might in fact be a skilful retouching by a later conservator.”
“The Botticelli painting could be looked at again and again, with each area revealing something new. This is because it has clearly been the subject of so much reworking.”
Birmingham Museum and Gallery conservators are now working to conserve the Botticelli painting; it will then be tested again with the imaging equipment to monitor the difference before and after the work.
"We are very excited to be involved with this cutting edge project,” said Simon Cane, Head of Collections Care at BMAG. “It will enable us to understand the painting and the changes that have been made to it over the years much more clearly. We can use the information gained to inform how we proceed with the conservation of this important work.”
