Chemical Characterization of Pope Pius VII Ancient Ecclesiastical Vestment by a Multi-Analytical Approach

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Article Chemical Characterization of Pope Pius VII Ancient Ecclesiastical Vestment by a Multi-Analytical Approach

Donata Magrini 1,* , Susanna Bracci 1,†, Roberta Iannaccone 2 , Lucia Nucci 3 and Barbara Salvadori 1

1 CNR-ISPC, National Research Council, Institute of Heritage Science, 50019 Firenze, Italy; [email protected] 2 Department of Chemistry and Pharmacy, University of Sassari, 07100 Sassari, Italy; [email protected] 3 Textile Conservator, Lucia Nucci Restauri, 50100 Firenze, Italy; [email protected] * Correspondence: [email protected] † Dedicated to the memory of our beloved friend and colleague who suddenly passed away during the writing of this article.

Abstract: This paper presents a multi-analytical investigation performed for the study of the ecclesiastical vestment, with insignia, of Pope Pius VII, painted from the end of the 18th up to the beginning of the 19th century, made of five clothing elements: chasuble, stole, maniple, chalice veil and purse. The aim of this research was to assess the conservation state of the silk and painted backgrounds; to define the manufacturing technique of the work; to localize, if present, the underdrawing and any retouching; to identify the pigments and, where possible, the binders used. A diagnostic protocol was developed based on preliminary investigations through multiband imaging techniques known as MBI (visible, ultraviolet-induced visible luminescence (UVL), near-infrared reflected (NIR) and infrared reflected false color (IRRFC) photography). The images acquired with MBI techniques Citation: Magrini, D.; Bracci, S.; ensured a more specific choice of spots to be analyzed directly in situ by non-invasive techniques. In Iannaccone, R.; Nucci, L.; Salvadori, B. particular, portable digital optical microscopy and X-ray fluorescence (XRF) were performed. Two Chemical Characterization of Pope Pius VII Ancient Ecclesiastical Vestment by a fragments detached from the chasuble were also analyzed by microFT-IR, microRaman, scanning Multi-Analytical Approach. Heritage electron microscopy (SEM-EDS) and gas chromatography/mass spectrometry (GC-MS). Application 2021, 4, 1616–1638. https:// of the multi-analytical protocol enabled the materials used to be characterized and helped to define doi.org/10.3390/heritage4030090 the peculiar execution technique used. The presence of an underdrawing made with a carbon pencil was highlighted by MBI. Red lakes, iron-based pigments and copper-based pigments have been Academic Editors: Nikolaos Laskaris, identified on the painting palette, applied with arabic gum as a binder. Maria Kaparou and Artemios Oikonomou Keywords: liturgical vestment; chemical characterization; MBI; XRF; microFT-IR; microRaman; SEM-EDS; GC-MS Received: 22 June 2021 Accepted: 31 July 2021 Published: 6 August 2021 1. Introduction Publisher’s Note: MDPI stays neutral Several articles describe the characterization of ancient liturgical textiles, their man- with regard to jurisdictional claims in published maps and institutional affil- ufacturing process and dyeing techniques [1–13]. These studies are mainly devoted to iations. the characterization of the materials and are generally performed by micro-invasive analytical techniques [8–10,14]. This approach allows the identification of yarn types and the procedure used for preparation, both strictly related to the historical period. Despite the great interest in this kind of artifact, not many works are based on the application of non-invasive protocols [15–21]. Copyright: © 2021 by the authors. Ancient liturgical vestments are very often unique artworks; although several micro- Licensee MDPI, Basel, Switzerland. invasive techniques are available to investigate these objects, non-invasive methods should This article is an open access article distributed under the terms and always be preferred. In this way, the objects can survive and be left intact for future conditions of the Creative Commons generations. The non-invasive approach allows the examination of a virtually unlimited Attribution (CC BY) license (https:// number of measurements together with the possibility of performing the analysis in situ, creativecommons.org/licenses/by/ avoiding excessive handling of the object, in particular for very fragile artifacts. 4.0/).

Heritage 2021, 4, 1616–1638. https://doi.org/10.3390/heritage4030090 https://www.mdpi.com/journal/heritage Heritage 2021, 4 1617 Heritage 2021, 4 FOR PEER REVIEW 2

TheThe liturgical liturgical set set under under study, study, shown shown in in Figure Figure1, 1, belongs belongs to to a descendenta descendent of of Pope Pope PiusPius VII, VII, count count Gregorio Gregorio d’Ottaviano d’Ottaviano Chiaramonti. Chiaramonti. TheThe setset is is made made up up of of ﬁve five clothing clothing elements:elements: chasuble, chasuble, stole, stole, maniple, maniple, chalice chalice veil veil and and purse. purse. It It is is a a rare rare example example of of a a chasuble chasuble andand its its accessories accessories made made in in the the eleven eleven years year froms from the the end end of theof the 18th 18 upth toup the to the beginning beginning of theof 19ththe 19 century,th century, after after the deaththe death of Pius of Pius VII [VII22]. [22].

Figure 1. Liturgical vestments analyzed (1795 e il 1806): (a1) recto of the chasuble; (a2) verso of the Figure 1. Liturgical vestments analyzed (1795 e il 1806): (a1) recto of the chasuble; (a2) verso of the chasuble; (b) purse; (c) chalice veil; (d1,d2) stole; (e) maniple. Credits Lucia Nucci. chasuble; (b) purse; (c) chalice veil; (d1,d2) stole; (e) maniple. Credits Lucia Nucci.

TheThe neoclassic-style neoclassic-style decoration, decoration, painted painted on on pure pure silk silk ermesine, ermesine, was was created created by by the the priestpriest and and architect architect Saverio Saverio Caselli, Caselli, as as documented documented by by the the signature signature on on each each textile textile ele- ele- ment.ment. A A similar similar set set of of vestments vestments made made by by Caselli Caselli belongs belongs to to Victoria Victoria and and Albert Albert Museum Museum collections,collections, but but has has not not yet yet been been analyzed analyzed [ 23[23].]. The The decoration decoration of of the the five five handicrafts handicrafts is is similar,similar, but but not, not, however, however, identical identical in in all all the the pieces. pieces. It It consists consists of of very very refined refined geometric geometric patterns,patterns, organized organized around around a a Greek-style Greek-style freeze freeze with with sepia, sepia, grey grey and and green green tones, tones, and and insertedinserted squares squares in in which which flowered flowered garlands garlands and and ribbons ribbons of okraof okra gallons gallons are interwoven,are interwoven, re- ducingreducing the the rigidity rigidity of the of freeze.the freeze. These These three three components components are connected are connected with grey with elements grey ele- mimickingments mimicking sculpted sculpted figures. figures The composition. The composition of vegetal of vegetal garlands garlands varies invaries the differentin the dif- clothingferent clothing elements, elements, sometimes sometimes as a simple as a laurel simple motif laurel or motif with theor with addition the addition of flowers, of vineflow- leaves,ers, vine wheat leaves, sheaves, wheat ivysheaves, shoots, ivy pomegranate shoots, pomegranate branches branches or roses. or Each roses. element Each element has a differenthas a different symbolic symboli meaning.c meaning. The technique The technique used is a used preliminary is a preliminary drawing, underlineddrawing, under- with pastellined tonedwith pastel watercolors, toned watercolors, with grey, pink, with golden grey, pink, yellow golden andfaded yellow green and faded predominating. green pre- Thisdominating. type of decoration This type isof extremely decoration peculiar is extremely for ecclesiastical peculiar for clothes ecclesiastical dated to clothes this period. dated to thisA detailed period. description of the iconography, state of conservation and the conservative interventionA detailed is reported description in Appendix of the iconography,A. state of conservation and the conservative intervention is reported in Appendix A. 2. Materials and Methods 2. MaterialsA diagnostic and procedureMethods was developed in the conservation lab starting from a preliminary inA situdiagnostic survey byprocedure portable was optical developed microscopy in the coupled conservation with photographic lab starting multibandfrom a pre- imagingliminary MBI in situ (VIS, survey UVL, by NIR, portable IRRFC) optical to provide microscopy a first recognitioncoupled with of photographic the state of conser- multi- vationband imaging of the unpainted MBI (VIS, and UVL, painted NIR, silkIRRFC) textiles to provide and to characterizea first recognition the materials of the state used of andconservation their distribution. of the unpainted Further and punctual painted analyses silk textiles were and performed to characterize by means the ofmaterials X-ray fluorescenceused and their (XRF). distribution. Two fragments Further detached punctual from analyses the chasuble were performed were also by analyzed means of in X the-ray laboratoryfluorescence by microFT-IR,(XRF). Two microRaman,fragments detached scanning from electron the chasuble microscopy were coupled also analyzed with energy in the dispersivelaboratory X-ray by microFT spectrometry-IR, microRaman, (SEM-EDS) scanning and gas chromatography/masselectron microscopy coupled spectrometry with en- (GC-MS)ergy dispersive in order X to-ray corroborate spectrometry and complement (SEM-EDS) and the resultsgas chromatography of the non-invasive/mass technique. spectrometry (GC-MS) in order to corroborate and complement the results of the non-invasive tech- 2.1. In Situ Analytical Methods nique. For the multiband photographic techniques, two digital cameras were used: a Canon × EOS2.1. 7DIn Situ (18 Mpixel,Analytical APS-C Methods sensor 223 15 mm) and a modified Canon EOS 400D (10.10 Mpixel, APS-C sensor 223 × 15 mm) without the internal ICF/AA filters. The Canon EOS For the multiband photographic techniques, two digital cameras were used: a Canon 7D was used for visible reflected (VIS) and ultraviolet-induced visible luminescence (UVL), takingEOS 7D advantage (18 Mpixel, of the APS internal-C sensor filter 223 already × 15 mm designed) and toa modified cut UV/IR Canon stray radiation,EOS 400D while (10.10 theMpixel, Canon APS EOS-C 400D sensor was 223 used × 15 for mm) NIR without photography. the internal Both camerasICF/AA werefilters. equipped The Canon with EOS a Canon7D was EF-S used 28 mm for f/2.8visible lens. reflected As sources (VIS) of and radiation, ultraviolet two- Quantuminduced visible T5D-R flashes luminescence were

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used. Both flashes were equipped with a QF80 Qflash UV/IR Wave Reflector with a filter holder. A combination of filters applied on flashes and the lens provides the proper output and input wavelength band for each technique. The combinations of filters used for this paper are summarized in Table1.

Table 1. Combination of ﬁlters and camera used per MBI.

Technique Camera Filters on Flashes Filter on Camera UVL CANON EOS 7D B+W 403 UV black B+W 468 UV/IR cut VIS CANON EOS 7D B+W 468 UV/IR cut B+W 468 UV/IR cut NIR CANON EOS 400D B+W 093 IR B+W 093 IR

In order to provide calibrated and reproducible images, a Colorchecker (X-Rite Col- orChecker Passport Photo) and a Spectralon® Diffuse Reflectance target (Labsphere) were used at the beginning of the analysis for each wavelength used [24]. Using a graphic pro- gram, visible images and near-infrared images were combined to obtain infrared reflected false color (IRRFC) images [25]. All the images were acquired in RAW format to entirely preserve the recorded information and minimize the internal software elaboration. The output images were converted in TIFF format with 2413 × 3619 pixels resolution at 8-bit. X-ray fluorescence spectra [26,27] were collected by a hand-held Bruker Tracer III-SD spectrometer (p-XRF), equipped with rhodium anode, palladium slits and SDD detector (FWHM < 145 eV at 100.000 cps for 5.9 keV Mn Kα). Due to the instrumental presence of Rh and Pd, the lines of these elements are always detected in the collected spectra. The spectra were acquired for 60 s. with the following working parameters: 40 kV, 12 µA. The analyzed area was 3 × 4 mm. The instrument with this configuration can collect X-ray emissions of elements with atomic numbers higher than sulfur. The documentation of measured areas and details of the surfaces was performed with a portable optical microscope, mod. Scalar DG-2A with a 25–200× optical zoom. All the photos were acquired at 25× of magnification (area of 13 × 8 mm).

2.2. Laboratory Analyses It was also possible to analyze two fragments detached from the chasuble. In the laboratory, micro-invasive, non-destructive or micro-destructive techniques were used to integrate the information obtained in situ. At the end of the analyses, the unaltered fragments were returned to the restorer who provided the relocation. The detached fragments were observed under the optical microscope in visible and UV reﬂected light and then analyzed by microFT-IR, microRaman and scanning electron microscopy. MicroFT-IR spectra were collected with an FT-IR spectrometer Agilent Technologies Cary 660 coupled with a Cary 620 Microscope, equipped with an MCT detector. All spectra were acquired in ATR mode in the 4000–400 cm−1 range with germanium crystal, collecting 64 scans, with a resolution of 4 cm−1. Spectra were processed using Agilent Resolutions Pro software, allowing for the characterization of support inks and the binder [28–31]. Red and black pigments on the fragments were analyzed at room temperature with a microRaman single-grating RM2000 Renishaw spectrometer equipped with a Peltier- cooled charge-coupled device detector. The Raman excitation was provided by a near- infrared diode laser operating at 785 nm and an argon laser operating at 514.5 nm. A 100× microscope objective was employed to focus the laser beam and collect the scattered light, providing a 1 µm diameter laser spot. The spectra were recorded with a laser power of approximately 2 mW in order to avoid damage to the sample and optimize the signal/background ratio. Spectra were recorded in steps of 1.6 cm−1 with an acquisition time of 30 s. The instrumental resolution, evaluated as the full width at half-maximum (FWHM) of an emission line of a He–Ne lamp, was 7 cm−1 [20,32,33]. Heritage 2021, 4 FOR PEER REVIEW 4

providing a 1 μm diameter laser spot. The spectra were recorded with a laser power of approximately 2 mW in order to avoid damage to the sample and optimize the signal/background ratio. Spectra were recorded in steps of 1.6 cm−1 with an acquisition time Heritage 2021, 4 1619 of 30 s. The instrumental resolution, evaluated as the full width at half-maximum (FWHM) of an emission line of a He–Ne lamp, was 7 cm−1 [20,32,33]. Backscattered electron (BSE) scanning electron microscope (SEM) images were col- lectedBackscattered from several electronareas of two (BSE) fragments. scanning The electron instrument microscope is equipped (SEM) imageswith a low were vac- col- uumlected chamber from several which areas does of not two require fragments. any sample’s The instrument treatmen ist. equipped The fragments with a were low vacuum indeed placedchamber on whichthe carbon does stub not requireand directly any sample’sinserted into treatment. the chamber. The fragments Energy-dispersive were indeed X- rayplaced spectroscopy on the carbon (EDS) stub was and used directly to obtain inserted semi into-quantitative the chamber. elemental Energy-dispersive analysis and X-raymor- phologicalspectroscopy images (EDS) of was the usedinvestigated to obtain areas. semi-quantitative The images and elemental spectra analysis were acquired and morpho- with anlogical ESEM images Quanta200 of the (Environmental investigated areas. Scanning The images Electron and Microscopy) spectra were FEI/Philips acquired Electron with an Optics.ESEM Quanta200The measurements (Environmental were taken Scanning in a low Electron vacuum Microscopy) (1 Torr) using FEI/Philips an accelerating Electron voltageOptics. of The 25 kV measurements and a working were distance taken of in 10 a lowmm. vacuum (1 Torr) using an accelerating voltageFrom of th 25e kV fragments and a working provided, distance two micro of 10- mm.samples were taken and analyzed by gas chromatographyFrom the fragments with the provided,mass spectrometric two micro-samples detector (GC/MS) were taken to verify andanalyzed the presence by gas of organicchromatography materials withused theas a mass pictorial spectrometric binder. For detector this purpose, (GC/MS) a 6890N to verify GC theSystem presence gas chromatographof organic materials (Agilent used Technologies) as a pictorial was binder. used For, equipped this purpose, with PTV a 6890N injector GC Systemin splitless gas mode,chromatograph coupled with (Agilent a 5973 Technologies) mass selective was detector used, equipped (Agilent withTechnologies) PTV injector single in splitlessgolden quadrupolemode, coupled mass with spectrometer. a 5973 mass The selective gas chromatographic detector (Agilent separation Technologies) was operated single golden on an HPquadrupole-5MS fuse massd silica spectrometer. capillary column. The gas The chromatographic GC/MS parameters separation for the wasanalysis operated of the on dif- an ferentHP-5MS fractions fused are silica reported capillary elsewhere column. [34]. The GC/MS parameters for the analysis of the different fractions are reported elsewhere [34]. 3. Results and Discussion 3. Results and Discussion 3.1.3.1. Multiband Multiband Imaging Imaging (MBI) (MBI) AsAs reported reported in in the the literature, literature, multispectral multispectral images images applied applied to to historical historical textiles textiles can can highlighthighlight the the presence presence of of interesting interesting features, features, such such as as the weaving technique [24,35 [24,35–37].37]. InIn this this case, case, near near-infrared-infrared reflected reflected (NIR) (NIR) images images highlighted highlighted the the presence presence of of a a faint faint underdrawingunderdrawing used used as as a aguide guide for for the the decoration decoration in several in several areas. areas. An example An example of this of pic- this torialpictorial technique technique is clearly is clearly visible visible by comparing by comparing the theimages images reported reported in Figure in Figure 2. In2. the In infraredthe infrared reflected reflected image, image, an almost an almost straight straight line appears line appears in correspondence in correspondence to the butterfly to the wingbutterfly in order wing to in outline order tothe outline edge between the edge the between Greek themeanders Greek meandersdecoration decoration and the back- and groundthe background curtain. curtain.

(a) (b)

FigureFigure 2. 2. DetailDetail on on the the chasuble chasuble of of a a cupid cupid:: ( (aa)) n near-infraredear-infrared image; image; ( (bb)) v visibleisible image. image.

DrawingsDrawings as as a a guide guide for for the the painting painting are are also also visible visible in in the the areas areas with geometrical decoration.decoration. Some ofof thesethese lineslines are are very very thin thin and and also also barely barely visible visible in the in NIR the image,NIR image, while some areas show the presence of marked lines that are also visible with close observation (Figure3b).

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Heritage 2021, 4 1620 while some areas show the presence of marked lines that are also visible with close observation (Figure 3b).

(a) (b) (c)

Figure 3.FigureDetail 3. of Detail the decoration of the decoration on the purse:on the (pursea) VIS: ( image;a) VIS image; (b) detail (b) of detail geometrical of geometrical guideline; guideline; (c) IRRFC (c) image. IRRFC image. Drawings with dark paints compared in NIR and IRRFC images show different Drawings behavior.with dark In paints Figure compared3b, hatching in NIR in the and background IRRFC images appears show transparent different inbe- the NIR region, havior. In Figurewhile 3b, thehatching ink used in the for background leaves absorbs appears the IR transparent radiation, appearing in the NIR as region, black. This suggests while the ink usedthat thefor darkleaves areas absorbs were the painted IR radiation using at, appearing least two types as black. of pigments: This suggests one based on carbon that the dark areasblack, were which painted absorbs using the at infraredleast two radiation, types of pigments and another: one onbased iron-gall on carbon ink, transparent to black, which absorbsnear-infrared the infrared [38,39 ].radiation, and another on iron-gall ink, transparent to near-infrared [38,39The]. use of the IRRFC technique widely highlights these differences among pigments The use ofand the canIRRFC be usefultechnique for orientingwidely highlights measuring these areas differences for spot analyses among pigments [25]. and can be useful forObserving orienting imagesmeasuring in visible areas for light, spot the analyses decoration [25]. in Figure3a appears to be painted Observingwith images two in different visible materialslight, the (blackdecoration and differentin Figure shades 3a appears of brown), to be whilepainted the IRRFC image with two differenthighlights materials the (black use of and at least different three shades different of brown), paint materials, while the appearing IRRFC image as red, dull orange highlights the useand of black. at least As three already different discussed, paint thematerials, differences appearing between as red, the twodull dark orange pigments appear and black. As alreadyeven more discussed, enhanced the thandifferences the NIR between image; the likewise, two dark the oculuspigments shows appear the presence of a even more enhancedtannin-based than the pigment NIR image to draw; likewise, architectural the oculus elements shows and the carbon-based presence of pigments a to build tannin-based pigmentthe shadows. to draw architectural elements and carbon-based pigments to build the shadows. Analysis of the ultraviolet-induced visible luminescence (UVL) images shows the Analysis ofcharacteristic the ultraviolet blue-induced luminescence visible of luminescence proteinaceous (UVL) materials images [19 shows] and, in the some areas, the characteristic bluepresence luminescence of residual of proteinaceous organic material materials and stains [19] absorbedand, in some on theareas, ﬁbers the with a yellow presence of residualluminescence organic material (Figure4 ).and In stains some areasabsorbed corresponding on the fiber tos with decorations a yellow with lu- a pink/light Heritage 2021, 4 FORminescence PEER REVIEW (Figurered color, 4). In the some images areas in corresponding UVL show a light to decorations pink emission. with This a pink/light type of ﬂuorescence red can be 6

color, the imagesassociated in UVL withshow madder a light[ 19pink,40 ,41emission.]. This type of fluorescence can be associated with madder [19,40,41].

Figure 4. UVL detail of the purse. Figure 4. UVL detail of the purse.

The documentation performed through the portable microscope was addressed to study the conservation status of the textile [42,43] and document the details of the pictorial decoration. Some details of the iconography and decorations are given in Figure 5.

Figure 5. Details of the surfaces acquired through the digital portable microscope: (a) decoration on the maniple; (b) text from the recto of the chasuble; (c) fly from the recto of the chasuble; (d) horse detail from the verso of the chasuble; (e) Eve representation from the verso of the chasuble; (f) Che- rubin from the verso of the chasuble.

The acquisitions were also made on the same spot location as that analyzed by XRF, providing detailed documentation of the investigated areas.

3.2. XRF Elemental Analysis The X-ray fluorescence spectra acquired on the elements of the ecclesiastical set are very similar and do not present any key element for identification of the pigments used, except for a few points where Cu and Fe are revealed. Figure 6 compares the XRF spectra of two spot measurements on the chasuble: one on the unpainted silk and the other on the shadow of the red garland. XRF elemental analysis, apart from detecting the same elements found in the silk support, shows the presence of high counts of iron on the red decoration, suggesting the presence of an iron-based pigment.

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Figure 5. Details of the surfaces acquired through the digitalFigure portable 5 microscope: (a) decoration on the maniple; (b) text from the recto of the chasuble; (c) ﬂy from the recto of the chasuble; (d) horse detail from the verso of the chasuble; (e) Eve representation from the verso of the chasuble; (f) Cherubin from the verso of the chasuble.

The acquisitions were also made on the same spot location as that analyzed by XRF, providing detailed documentation of the investigated areas.

3.2. XRF Elemental Analysis The X-ray ﬂuorescence spectra acquired on the elements of the ecclesiastical set are very similar and do not present any key element for identiﬁcation of the pigments used, except for a few points where Cu and Fe are revealed. Figure6 compares the XRF spectra of two spot measurements on the chasuble: one on the unpainted silk and the other on the shadow of the red garland. XRF elemental analysis, apart from detecting the same elements found in the silk support, shows the presence of high counts of iron on the red decoration, suggesting the presence of an iron-based pigment.

2 Heritage 2021, 4 1622

FigureFigure 6. XRF of6 two areas on the chasuble. The spectrum on the silk is reported in black and the spectrum on the red decoration in red. Rh and Pd peaks pertain to the device’s components. Figure 6 Only the green leaf of the decoration on the stole differs from the other points, pre- senting high counts of copper (Figure7).

Figure 7 Figure 7. XRF of the green leaf on the stole where the lines of copper are visible.

3.3. SEM-EDS, FT-IR, MicroRAMAN,Figure 7 GC/MS Survey: Micro-Analysis on Fragments As aforementioned, two detached fragments from the chasuble, provided by the restorer and shown in Figure8, were analyzed by micro-invasive, non-destructive or micro-destructive techniques.

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Figure 6. XRF of two areas on the chasuble. The spectrum on the silk is reported in black and the spectrum on the red decoration in red. Rh and Pd peaks pertain to the device’s components.

Only the green leaf of the decoration on the stole differs from the other points, pre- senting high counts of copper (Figure 7).

x 1E3 Pulses

15 Ca

10 Rh Cu Pd

K 5

Si Ni

K Si Ti Ti Ni S Ca Fe Cu Rh Pd 0 0 2 4 6 8 10 - keV - Figure 7. XRF of the green leaf on the stole where the lines of copper are visible.

3.3. SEM-EDS, FT-IR, microRAMAN, GC/MS Survey: micro-Analysis on Fragments

Heritage 2021, 4 As aforementioned, two detached fragments from the chasuble, provided by the1623 restorer and shown in Figure 8, were analyzed by micro-invasive, non-destructive or micro- destructive techniques.

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Figure 8. Detached fragments from the chasuble.

Observations under the UV light microscope showed the intrinsic blue luminescence Observations under the UV light microscope showed the intrinsic blue luminescence emission of proteinaceous materials such as the silk [40–42], while no emission was visible emission of proteinaceous materials such as the silk [40–42], while no emission was visible in the painted (black or red) areas due to the absorption of ultraviolet radiation from these in the painted (black or red) areas due to the absorption of ultraviolet radiation from these pigments. pigments Detail of the painted silk ﬁbers under SEM is shown in Figure9. Detail of the painted silk fibers under SEM is shown in Figure 9.

Figure 9. Detail of a black area of the fragment observed under the scanning electron microscope Figure 9. Detail of a black area of the fragment observed under the scanning electron microscope (1200× magnification). (1200× magniﬁcation).

TheThe elemental elemental analyses analyses performed performed by by SEM-EDSSEM-EDS on the unpainted unpainted areas areas highlight highlight the thepresence presence of of elements elements linked linked to the silksilk proteinprotein (nitrogen(nitrogen and and sulfur) sulfur) and and to to superﬁcial superficial materialsmaterials (aluminum, (aluminum, silicon, silicon, calcium calcium and and potassium). potassium). SpectraSpectra acquired acquired on on the the black-painted black-painted areas areas show show an elemental an elemental composition composition similar similar to theto silk the support silk support (Figure (Figure 10). As 10). indicated As indicated by XRF by measures,XRF measures, the absence the absence of key of elements key elements on theon black the black areas areas suggests suggests the use the of use carbon-based of carbon-based black black pigments. pigments. This evidenceThis evidence could could be endorsedbe endorsed by the by presence the presen ofce a higherof a higher net countnet count for Kfor [44 K]. [44]. Al, Al Si,, KSi, and K and Ca Ca are are elements elements relatedrelated to to superﬁcial superficial incoherent incoherent deposit deposit

Painted

Unpainted

Figure 10. Detail of a black area of the fragment, observed by scanning electron microscope (600× magnification).

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Observations under the UV light microscope showed the intrinsic blue luminescence emission of proteinaceous materials such as the silk [40–42], while no emission was visible in the painted (black or red) areas due to the absorption of ultraviolet radiation from these pigments Detail of the painted silk fibers under SEM is shown in Figure 9.

Figure 9. Detail of a black area of the fragment observed under the scanning electron microscope (1200× magnification).

The elemental analyses performed by SEM-EDS on the unpainted areas highlight the presence of elements linked to the silk protein (nitrogen and sulfur) and to superficial materials (aluminum, silicon, calcium and potassium). Spectra acquired on the black-painted areas show an elemental composition similar to the silk support (Figure 10). As indicated by XRF measures, the absence of key elements Heritage 2021, 4 on the black areas suggests the use of carbon-based black pigments. This evidence could1624 be endorsed by the presence of a higher net count for K [44]. Al, Si, K and Ca are elements related to superficial incoherent deposit

Painted

Unpainted

Heritage 2021, 4 FOR PEER REVIEW Figure Figure 10. 10.Detail Detail of of a a black black area area of of the the fragment, fragment, observed observed by by scanning scanning electron electron microscope microscope (600 (600×9× magnification). magniﬁcation).

SEM observations on the red fragment reveal compositional differences between the SEM observations on the red fragment reveal compositional differences between the painted (lighter) and unpainted (darker) areas (Figure 11). These data suggest the presence painted (lighter) and unpainted (darker) areas (Figure 11). These data suggest the pres- of a pictorial layer containing a heavy element. This evidence is conﬁrmed by the presence ence of a pictorial layer containing a heavy element. This evidence is confirmed by the of iron (Fe) counts revealed in these areas (Figure 12), attributable to reddish iron earth presence of iron (Fe) counts revealed in these areas (Figure 12), attributable to reddish iron pigments. earth pigments.

FigureFigure 11. 11.Optical Optical microscope microscope image image (left (left) showing) showing the areas the areas analyzed analyzed by SEM by (blue SEM and (blue red squares) and red squares) and SEM image in backscattered electrons of area 1 (right). and SEM image in backscattered electrons of area 1 (right).

a - Painted

a Painted

b b - Unpainted Unpainted

Figure 12. SEM image of area 2 (magnification 200×) and spectra of a painted (spectrum 1) and an unpainted area (spectrum 2).

By comparing the spectra relative to the decorated areas of both fragments, the peak of the Fe is observed, but in the red fragment, the element shows higher counts, suggesting the use of an iron-based pigment. This outcome agrees with the results obtained with the XRF technique on the fragments (Figure 13). In addition, the presence of the weak peak of Fe in black areas may be related to the iron-gall ink hypothesized above for the hatching in the background.

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SEM observations on the red fragment reveal compositional differences between the painted (lighter) and unpainted (darker) areas (Figure 11). These data suggest the presence of a pictorial layer containing a heavy element. This evidence is confirmed by the presence of iron (Fe) counts revealed in these areas (Figure 12), attributable to reddish iron earth pigments.

Heritage 2021, 4 1625 Figure 11. Optical microscope image (left) showing the areas analyzed by SEM (blue and red squares) and SEM image in backscattered electrons of area 1 (right).

a - Painted

a Painted

b b - Unpainted Unpainted

Figure 12. SEMFigure image 12. ofSEM area image 2 (magniﬁcation of area 2 (magnification 200×) and 200 spectra×) and of spectra a painted of a (spectrum painted (spectrum 1) and an 1) unpaintedand an area (spectrum 2). unpainted area (spectrum 2).

By comparingBy the comparing spectra relative the spectra to the relative decorated to the areas decorated of both areas fragments, of both the fragments, peak the peak of the Fe is observed,of the Fe but is observed, in the red but fragment, in the red the fragment, element shows the element higher shows counts, higher suggesting counts, suggesting the use of anthe iron use-based of an pigment. iron-based This pigment. outcome This agrees outcome with the agrees results with obtained the results with obtained the with the XRF techniqueXRF on technique the fragments on the (Figure fragments 13). In (Figure addition, 13). Inthe addition, presence the of the presence weak ofpeak the of weak peak of Fe in black areasFe in may black be areas related may to be th relatede iron- togall the ink iron-gall hypothesized ink hypothesized above for the above hatching for the hatching in in the background.the background.

Figure 13. Comparison of the XRF spectra13 of the black and red fragment.

Raman analysis of the red-painted areas allowed for the pointing out of the presence of one band at 1583 cm−1, attributable to the symmetric E2g vibrations of the carbon rings in the plane of the graphite sheets [45] (Figure 14a) and the typical bands of iron pigment −1 hematite (αFe2O3) at 429 cm (Figure 14b) [32,46]. The presence of graphite could be related to the underdrawing or to the shadow on the red hue.

3 Heritage 2021, 4 FOR PEER REVIEW 10

Figure 13. Comparison of the XRF spectra of the black and red fragment.

Raman analysis of the red-painted areas allowed for the pointing out of the presence of one band at 1583 cm−1, attributable to the symmetric E2g vibrations of the carbon rings in the plane of the graphite sheets [45] (Figure 14a) and the typical bands of iron pigment Heritage 2021, 4 hematite (αFe2O3) at 429 cm−1 (Figure 14b) [32,46]. The presence of graphite could be re- 1626 lated to the underdrawing or to the shadow on the red hue.

Figure 14. RamanFigure spectra 14. Raman of the spectra areas analyzed of the areas on theanal fragments.yzed on the On fragments. the red fragment: On the red (a )fragment: graphite; ( (ab) )graphite; hematite. On the black fragment:(b) (hematite.c) amorphous On the coal. black fragment: (c) amorphous coal. .

On the black Onfragment, the black the fragment, Raman spectrosc the Ramanopy spectroscopysuggested the suggested use of amorphous the use of car- amorphous carbon as a pigmentbon as (Figure a pigment 14c). (Figure The spectra 14c). The are spectra characterized are characterized by two bands by two at bands approxi- at approximately −1 mately 1355 and1355 1600 and cm 1600−1, cmwhich, whichare the are D and the DG andbands G bandsof carbon of carbon materials, materials, respectively respectively [33,47]. [33,47]. In amorphousIn amorphous carbon carbon the two the Raman two Raman bands bands are broad; are broad; furthermore, furthermore, they can they vary can vary in rela- in relative intensitytive intensity and width and width in relation in relation to the to degree the degree of disorder of disorder or crystallinity, or crystallinity, thus thus providing providing structuralstructural information information on on the the compound compound and and its its preparation preparation [48 [48–50].–50 ]. All microFT-AllIR spectra microFT-IR show spectra the characteris show thetic characteristic peaks of silk peaks proteins of silk; in proteins; particular, in particular, the −1 −1 the amide bandamide at 3273 band cm at 3273−1 and cm amideand I amideand II Ipeaks and II at peaks 1626 at and 1626 1510 and cm 1510−1, cmrespectively, respectively [29–31]. [29–31]. Nevertheless,Nevertheless, the spectra the spectra obtained obtained on onthe the painted painted parts parts (Figure (Figure 15) 15) show show the the pres- presence of a band Heritage 2021, 4 FOR PEER REVIEW −1 11 ence of a bandat 1030at 1030 cm cm, attributable−1, attributable to the to C-Othe C stretching-O stretching band ofband a polysaccharide of a polysaccharide [28]. Comparing the [28]. Comparingspectra the withspectra standard with standard references, references, the use of the Arabic use gumof Arabic as a pictorial gum as bindera pictorial is presumed [5]. binder is presumed [5].

FigureFigure 15. 15.FTIR-ATR FTIR-ATR spectrum spectrum of of ( a(a)) black-painted black-painted area, area, ( b(b)) red-painted red-painted area area andand ((cc)) uncoloreduncolored area.area. GC-MS analysis underlined the presence of organic material in signiﬁcant quantities GC-MS analysis underlined the presence of organic material in significant quantities in the samples. In particular, the analysis of the resin glycerolipid components [34] of in the samples. In particular, the analysis of the resin glycerolipid components [34] of the the samples showed the absence of natural waxes, natural resins or siccative oils. On the samples showed the absence of natural waxes, natural resins or siccative oils. On the con- contrary, saccharidic material is present in both samples. Table2 shows, for each sample, trary, saccharidic material is present in both samples. Table 2 shows, for each sample, the the relative percentage of each saccharide or uronic acid, and in the last column, the total relative percentage of each saccharide or uronic acid, and in the last column, the total saccharide content in µg. The sugars (or uronic acids) present were considered only for the saccharide content in μg. The sugars (or uronic acids) present were considered only for amounts above the quantitation limit. the amounts above the quantitation limit.

Table 2. Saccharide content of the sample (RS: red sample, BS: black sample).

tose

(µg)

Xilose

Fucose

Sample

Glucose

Mannose

Galac

Arabinose

Rhamnose

Glucuronic AcidGlucuronic

Galacturonic Galacturonic Acid

Saccharide Content Saccharide RS - 33 12 - - 11 - - 44 1.6 BS - 39 12 - - 8 - - 41 2.4

The samples have a saccharidic profile characterized by both pentose and hexose sugars with the presence of glucuronic acid. The range of monosaccharides found is associated with the presence of a natural rubber [34,51,52]. In particular, the presence of arabinose, rhamnose, glucuronic acid and galactose, as reported in Table 2, indicates the use of an arabic gum in both samples, in agreement with the results obtained with microFT- IR-ATR.

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Table 2. Saccharide content of the sample (RS: red sample, BS: black sample). g) µ Xilose Fucose Sample Glucose Mannose Galactose Arabinose Rhamnose Glucuronic Acid Galacturonic Acid Saccharide Content(

RS - 33 12 - - 11 - - 44 1.6 BS - 39 12 - - 8 - - 41 2.4

The samples have a saccharidic proﬁle characterized by both pentose and hexose sugars with the presence of glucuronic acid. The range of monosaccharides found is associated with the presence of a natural rubber [34,51,52]. In particular, the presence of arabinose, rhamnose, glucuronic acid and galactose, as reported in Table2, indicates the use of an arabic gum in both samples, in agreement with the results obtained with microFT-IR-ATR.

4. Conclusions The peculiarity of these liturgical vestments lies in the fact that they are painted, and not embroidered with colored threads such as the textiles traditionally made in this period. Application of the multi-analytical protocol presented here on this ancient liturgical set enabled the materials used to be characterized and helped to define the peculiar execution techniques used. A preliminary observation performed by imaging techniques, especially near-infrared photography, allowed the presence to be highlighted of an underdrawing made with a carbon pencil and mainly outlined by a very thin line. Infrared reflected false color better highlighted the difference among pigments, especially the darker ones. Ultraviolet luminescence revealed the presence of organic materials. The technique was useful to identify red lacquer used to create a pink pattern and decoration, but also to delimitate stains and organic residues on the silk. Most of the painting materials analyzed are organic pigments and are therefore not detectable by XRF. However, the technique revealed the use of iron-based pigments for red and brown tones and a copper-based pigment for green areas. It was also possible to study two fragments detached from the chasuble. Micro- invasive, non-destructive or micro-destructive techniques were used to integrate the information obtained in situ. The analytical data confirmed the use of iron-based pigments to decorate the drawing and brown backgrounds and a carbon-based pigment for the black areas. Analysis through GC-MS on the binder identified it as Arabic gum.

Author Contributions: Conceptualization, D.M., S.B., R.I. and B.S.; Data curation, D.M., S.B., R.I. and B.S.; Formal analysis, D.M., S.B., R.I. and B.S.; Investigation, D.M., S.B., R.I. and B.S.; Methodology, D.M., S.B., R.I. and B.S.; Project administration, Lucia Nucci; Visualization, D.M., S.B., R.I. and B.S.; Writing—original draft, D.M., S.B., R.I., B.S. and L.N.; Writing—review & editing, D.M., R.I. and B.S. All authors have read and agreed to the published version of the manuscript. Funding: This research received no external funding. Institutional Review Board Statement: Not applicable. Informed Consent Statement: Not applicable. Acknowledgments: The authors wish to thank Ilaria Degano (Dept. of Chemistry, University of Pisa, Italy) for GC-MS characterization of the binder and Cristiana Lo Frumento (Dept. of Chemistry, University of Florence) for Raman analyses of the red and black pigments. Heritage 2021, 4 1628

Conﬂicts of Interest: The authors declare no conﬂict of interest.

Appendix A AppendixA includes a detailed description of the iconography, state of conservation and conservative intervention performed on the liturgical set.

Appendix A.1. Historical Notes about the Papal Clothing and Don Saverio Caselli The ecclesiastical vestment, with insignia, of Pope Pius VII, which belongs to a descendent of the Pope, Count Gregorio d’Ottaviano Chiaramonti, is made of ﬁve clothing elements: chasuble, stole, maniple, chalice veil and purse [53,54]. It is a rare example of a chasuble and its accessories painted from the end of the 18th up to the beginning of 19th century, in the 12 years between 1795 and 1806, which were included in the assets of the Counts Chiaramonti after the death of Pius VII, when his personal belongings were divided up between his heirs on 25 September 1826. The neoclassic-style decoration, painted on pure silk ermesino, was created by the priest-architect Saverio Caselli, as documented by the signature on each textile element. He was a clergyman and architect of great skills, from a minor noble family, although little known in the artistic world. He was an architect in the papal town of Benevento and as superintendent of the bishop’s building projects, was put in charge of the construction of a bridge on the Cadore river in Benevento. In 1888, a textile workshop was created in the Santissima Annunziata Conservatory of Benevento with Saverio Caselli as director. Since he was already known in town as an architect, he was given the responsibility of supervising the construction and organization of the conservatory and later of its accounting, at least at the beginning of its activity. The level of such works was rather high, since great care was taken in the improvement of technology and machinery, using premium quality materials. For this reason, such high-quality textile works, durable in time, were popular in that petit bourgeois setting [55]. Caselli was intimately connected to the Papal Court: his father had been the personal physician of Cardinal Vincenzo Maria Orsini of Gravina, who later became Pope Benedetto XIII, which brought his father the nomination of valet of honor to Pope Pius VII in 1818, and subsequently the supernumerary valet to Pope Leone XIII in 1822.

Appendix A.2. Description of the Artifacts The five handicrafts have similar decorations, which are not, however, identical in all the pieces. It consists of very refined geometric patterns, organized around a Greek-style freeze with sepia, grey and green tones, and inserted squares in which flowered garlands and a ribbon of okra gallons are interwoven, reducing the rigidity of the freeze. These three components relate to grey elements mimicking sculpted figures. The composition of vegetal garlands varies in the different artifacts, sometimes as a simple laurel motif, or with the addition of flowers, vine leaves, wheat sheaves, ivy shoots, pomegranate branches or roses, but each element has a different symbolic meaning. The chasuble has a Roman shape and is cut in “ermesino” natural silk, shining and of high quality, like the other parts of the clothing. It is made of two parts sown together and painted before mounting. The column and the tau in the front are outlined and made evident by a geometrical decoration, a rectangular ribbon with an edge of trimmings and a garland of leaves and wheat sheaves in a ribbon. The freeze is rhythmically interrupted by squares representing cameos with winged cherubs. Such images are rectangular-shaped on the vertical side of the tau and egg-shaped on its horizontal side. The spaces between the garlands are adorned with different subjects: on the front side at the base of the tau, within a medallion, is a Pelican-Christ feeding his children-flock, between two cornucopia, which are symbols of abundance. Above this image the arma Christi are represented as a large trophy, and above this, in another medallion, the lamb of Christ is sacrificed on an altar beneath a dove, which represents the Holy Spirit. Over the Holy Spirit, bunches of grapes and sheaves of wheat are depicted, symbols of Eucharisty, and finally a large bunch Heritage 2021, 4 1629

of light blue flowers, probably forget-me-nots, as the symbol of fidelity and everlasting love. On the right side of the casula, a fly is painted next to the garland. On the back side, between two almonds, there are two images: on one side is a bronze snake curled around the tau and on the other a victorious cross rising over the world, dominating the tree of the knowledge of good and evil, placed in the center between Adam and Eve. Below is the coat of arms of Pope Chiaramonti, depicted on a cornucopia, a symbol of abundance, with two little angels that have butterfly wings. One of them has a little incense box in its hand, the other a laurel branch. Below that, there is a square, mimicking an inscription carved in stone, with the signature: Sav. Cassel/li Archo Benevo delin. e fec. 1804/D.D.D. The stole has a cross in the center, embroidered on tulle, with palm leaves at the top, and is adorned with a central ribbon with a geometric decoration, smooth and rectangular along all its length. On this ribbon, a gallon of trimmings is interwoven, forming a design of the number eight, alternated with a garland of thick leaves on a red ribbon, sometimes affixed with bows. At the intersection of the branches of this eight, several images are represented, mirror-like on each side of the stole: the chalice, two crossed keys and finally a big book, which we presume to be sacred. Wheat sheaves and grapevine leaves are spread across two big oval medallions adorning its extremities. One medallion shows the glorification of the cross sustained by the three theological virtues: Faith, Hope and Charity, which crush a demon represented by a female figure; on the medallion at the other extremity, the angels of the final judgement are represented, one of whom is blowing a small trumpet. The others brandish a cross overhanging the composition, while the faithful are resurrecting from the kingdom of the dead. On the arms of the cross, a cartouche with the words “Hoc signum erit in coelo” is wrapped. On one side of the lower edge is the writing: S. Sav. Caselli. A: D.D.D. A. 1805, and on the other: Caselli Arch. s. Benevent. s. Fecit. The maniple shows the same ornamental pattern as the stole. Next to the central rose window embroidered on tulle, representing a cross with geometric decorations, we find two rectangles, one with a quiver and the other with butterflies. The border is surrounded by trimmings, crossed with a flower garland and two bundles of wheat sheaves with grapevines and leaves. On the sides, two small squares in the freeze again show a quiver and butterflies. Each extremity contains a hexagon surrounded by small trimmings, with two small angels and cherubs sustaining the cross. On the lower edge, a script in ink says: Xavier. Caselli. F. The veil of the chalice, square in shape, has a light and elegant structure, divided into four triangles by a Saint Andrew cross, the border of which is outlined by a meandering geometric decoration and by small slabs with golden stubs; the empty spaces are ornate with vine leaves, wheat sheaves, roses and passion flowers. At the center of the base of each triangle, there is a medallion with a bell shape, surrounded by the ribbon of a gallon. These medallions, almost bas-reliefs, are characterized by winged creatures dressed in old robes, each one different, in the shape of angels or spirits of the forest. Two of the creatures hold a censer over the altar, another one squeezes a bunch of grapes over a chalice and the last one tries to throw a crown of leaves into the fire. At the four corners of the veil, precisely inserted at the four ends of the Saint Andrew cross, the tetramorphic representation of the Evangelists is inserted, in a circle, under braziers shaped like pots with handles. Heritage 2021, 4 1630

At the center, in a quadrilobe, it is possible to read the three letters HIS 1 (Iesus Hominum Salvator), of a small dimension, surrounded by flames. On one of the sides, at the center of the lateral border and under the bell-shaped medallion containing the profile of a winged creature throwing a flower garland, a small handwritten inscription is visible: Sac. D. Xavier. Caselli. Arch. Beneven. delin. ora 12 12 A. 1798. The decoration of the purse is characterized by an abundance of grapevine leaves with fruits and flowers, among which the passionflower is predominant. The structure of the Heritage 2021, 4 FOR PEER REVIEW 14 composition is as follows: the cloth ribbon describes a four-sided image or Greek cross, in the center of which a lozenge shape with rounded borders stands out, which contains a fake embroidery on linen canvas representing a Greek cross. The Greek cross cloth decoration is interwovenwith with the a rectangular words “Hoc ribbonsignum aterit its in perimeter coelo” is wrapped. and is characterized On one side of by the geometrical lower edge is the shapes. Thiswriting: border S. is rhythmicallySav. Caselli. A: centered D.D.D. onA. each1805, of and the on four the sides other: by Caselli rectangular Arch. shapess. Benevent. s. containingFecit. the instruments of Christ’s passion: the column, the whip and the ropes; the spear and the sponge;The maniple the ladder, shows the the pincers same ornamental and the hammer; pattern the as the crown stole. of Next thorns to andthe central the rose rods. In thewindow four corners embroidered of the rectangular on tulle, representing border, four a cross round with splayed geometric and decorations, perspective we find windows aretwo visible, rectangles, from whichone with plenty a quiver of vine andleaves the othe fullr with of grapes butterflies. emerge. TheOn border the borderis surrounded of one of theby sides trimmings, of the quadrangle,crossed with thea flower signature garland in black and inktwo isbundles visible: of S. wheat Xav. Caselli sheaves with Archs. Benus.grapevines S.C.B.R. and inc. leaves. ac. F. men. On the Jan.1795. sides, two small squares in the freeze again show a quiver and butterflies. Each extremity contains a hexagon surrounded by small trimmings, with Appendix A.3.two Decoration small angels and and Iconography cherubs sustaining the cross. On the lower edge, a script in ink says: Xavier. Caselli. F. The technique used is drawing, underlined with water colors with pastel tones. Grey, The veil of the chalice, square in shape, has a light and elegant structure, divided into pink, golden yellow and faded green are the predominating colors. This type of decoration four triangles by a Saint Andrew cross, the border of which is outlined by a meandering is not typical of the period for liturgical clothing, and it appears related to the ornamental geometric decoration and by small slabs with golden stubs; the empty spaces are ornate style of mural decorations, as you might expect from an architect. The attention to detail with vine leaves, wheat sheaves, roses and passion flowers. At the center of the base of of the artist is also noticeable in the architectural shades from one element to the other. each triangle, there is a medallion with a bell shape, surrounded by the ribbon of a gallon. The same holdsThese truemedallions, for the almost inscription bas-reliefs, in the are square characterized under theby winged casula, creatures reminiscent dressed of in old monumentalrobes, sculpture. each one This different, decoration in the is shape characteristic of angels of or the spirits last of years the forest. of the 18thTwo century.of the creatures The Greek-stylehold freezes,a censer underlinedover the altar, at the another corners one by sq cameos,ueezes a are bunch found of ingrapes several over designs a chalice and of the goldsmiththe last craft one of tries Luigi to throw Valadier; a crown for example, of leaves the into triumph the fire. of At Bacchus. the four corners of the veil, The iconographyprecisely inserted is inspired at the byfour the ends Passion of the ofSaint Christ Andrew and cross, the salvation the tetramorphic associated represen- with the Eucharist,tation of whichthe Evangelists was very is popularinserted, inin thea circ 18thle, under century. braziers The lambshaped sacrificed like pots onwith han- the alter, thedles. pelican symbol of charity and the Eucharist, the arma Christi, are found in numerous works;At on the the center, casula, in a the quadrilobe, salvation it cross is possible under to which read the the three dead letters are resurrecting HIS 1 (Iesus Homi- on judgementnum day Salvator is opposite), of a small to the dimension, bronze snake. surrounded The iconography by flames. On of theone veilof the is evensides, at the more directedcenter towards of the lateral the sacrifice border and of praise,under the with bell-shaped angels surrounding medallion containing the altar the and profile of tetramorphica winged images introducingcreature throwing the Gospel a flower as Logos, garland, the a Word small ofhandwritten Salvation. Theinscription symbolic is visible: meaning isSac. important: D. Xavier. the Caselli. representation Arch. Beneven. of the Passiondelin. ora is 12 expressed 12 A. 1798. ecumenically as torn between pathosThe and decoration salvation, whereof the everythingpurse is characteri leads tozed salvation by an abundance through the of Eucharist,grapevine leaves representedwith also fruits by the and chalice flowers, of among wine. The which wheat the passionflower sheaves, garlands is predominant. of vine leaves The andstructure of flowers alsothe evoke composition the Eucharist is as follows: as a liberationthe cloth ribbon and senddescribes a subliminal a four-sided message image or in Greek the cross, context of thein the tragic center end of of which Pius VIa lozenge and the shape difficulties with rounded of thePontifical borders stands reign out, of Pius which VII. contains The lamb sacrificeda fake embroidery on the altar, on linen the pelican canvas feedingrepresenting his offspring a Greek cross. with The his ownGreek flesh cross (the cloth dec- faithful) andoration the arma is interwoven Christi remind with of a therectangular sacrifice ribbon of Christ. at its They perimeter exalt, at and the is same characterized time, by

1 “IHS (or JHS)1 is “IHS a Latin (or JHS) transcription is a Latin transcription of the Greek of the abbreviationGreek abbreviation of the of the name name of of Jesus Jesus ᾿Ιησοῦς, capital capital ΙΗΣΟΥΣ IHΣOΥ) asΣ )written as written in Greek in Greekmanuscripts manuscripts or inscriptions. or Reading inscriptions. Reading the H (η) like an h originated the erroneous interpretation of the script, like Jesus Hominum Salvator. Such a script was spread the H (η) like an h originated the erroneous interpretation of the script, like Jesus Hominum Salvator. Such a script was spread in Italy and Spain from the 14th to the in Italy and Spain from the 14th to the second half of the 15th century, in particular by the work of Bernardino da Siena and followers, who, as a symbol of a particularsecond half devotion of the 15th to century, Jesus’ in name, particular took by it the as anwork emblem, of Bernardino surrounded da Siena by and rays followers, and with who, a as vertical a symbol addition of a particul to thear devotion middle to bar Jesus’ of the name, H totook it as an form a cross. Ignatius de Loyola adopted it, surmounted by a cross, as an emblem of the Jesus Congregation (Enciclopedia Treccani). “Contrary to popularemblem, surrounded opinion, the by monogramrays and with doesa vertical not addition indicate to “Jesus the middle Hominum bar of the Salvator” H to form ora cross. “In Hoc Ignatius Signo”. de Loyola IHS adopted is more it, appropriately surmounted by defined a cross, as as an emblem “crystogram”, or an antique way of writing “Jesus Christ” originating in the 3rd century. The Christians abbreviated Jesus’ name, writing only the first three Greekof the letters Jesus Congregation IHΣ (from the (Enciclopedia complete Treccani name). IHΣOΥΣ). The Greek letter Σ (sigma) in the Latin alphabet became a “S”, and this originated the script IHS. In the first centuries in the church, this was a secret symbol, often carved in the tombs of the Christians. After, in the 15th century, Saint Bernardine of Siena organized a preaching campaign to promote the reverence to the holy name of Jesus and encouraged the Christians to put “Contrary to popular opinion, the monogram does not indicate “Jesus Hominum Salvator” or “In Hoc Signo”. IHS is more appropriately defined as “crystogram”, or an a HIS over the door of their houses. A century after, in 1541, Saint Ignatius adopted the monogram to represent his newly founded order, the Jesus Society (Jesuits).antique The way symbol of writing is now “Jesus widespread Christ” originating in all the in Christianthe 3rd cent areasury. The of theChristians world”, abbreviated Philip Kosloski, Jesus’ name, in Aleteia,writing only 16 Maythe first 2017. three Greek letters ΙΗΣ (from the

complete name ΙΗΣΟΥΣ). The Greek letter Σ (sigma) in the Latin alphabet became a “S”, and this originated the script ΙΗS. In the first centuries in the church, this was a

secret symbol, often carved in the tombs of the Christians. After, in the 15th century, Saint Bernardine of Siena organized a preaching campaign to promote the reverence

to the holy name of Jesus and encouraged the Christians to put a HIS over the door of their houses. A century after, in 1541, Saint Ignatius adopted the monogram to

represent his newly founded order, the Jesus Society (Jesuits). The symbol is now widespread in all the Christian areas of the world “, Philip Kosloski, in Aleteia, 16 May

2017

Heritage 2021, 4 1631

the Roman Pope, elected in difﬁcult times in March 1800, prevailing with his diplomatic efforts and pugnacious will on the impiety of the French revolution, striking down the bronze snake and making the glorious cross triumphant again. The incense that is generously represented and the abundant cornucopias surrounding the pelican on which his weapons are posed represent the hope that he restored amongst the Catholics. Lastly, the representation of the two crossed keys refer to the ministry of the Pope, like the keys of heaven entrusted to Saint Peter. The keys are one of gold and one of silver, symbolizing the power of the Pope to unbind and bind.

Appendix A.4. The Conservation Treatment The conservation process is a great opportunity for the understanding of an artifact. Together with the analytical research from which it originates and to which it is intrin- sically interconnected, it represents perhaps the most capillary and profound analytical phase, since it investigates the most hidden components of the materials, superimposed or stratified over the course of history. The work is based upon three fundamental aspects that make up the overall fully fledged knowledge of a cultural artifact. The first aspect is the “historic content”, to quote Brandi, starting from the most famous academic studies, accompanied by notions taken from sources not so obvious in traditional studies, yet it can be considered a real final asset in completing an “identity card” of the cultural artifact. The second aspect is the technical map, fundamental in this type of work, which requires the specific knowledge and cooperation of various disciplines (art history, chemistry and physics), associated with specific conservation experts. The third aspect is that the more we penetrate the mystery of “conservation”, the more we appreciate the importance of the “third act”, as Umberto Baldini would say. Which means that through restoration one gains a more complete picture, in greater detail and accuracy, of the artifact and its history. Without the prestigious exhibit in Paris, this rare and extraordinary work of art would no doubt have remained hidden for a long period of time, stored in the wardrobes of the palace belonging to Count Gregorio d’Ottaviano Chiaramonti, without the opportunity of being known and admired in a public exhibition and published in a catalogue.

Appendix A.5. The State of Conservation The ecclesiastical clothing in question was stored in a wardrobe of the palace in Cesena belonging to Gregorio D’Ottaviano Chiaramonti. When it arrived, the chasuble was not in good condition. It was covered by a thick layer of dust or incoherent particles all over its surface. The undecorated silk had lighter lines and stripes, as if the tissue had been scratched. In the recto, to the right of the undecorated silk, a big stain of 35 × 10 cm was evident. Many smaller stains were present on the whole surface. The textile was very worn, but with no cuts or missing parts. In the area of the shoulders, the color of the silk was darker, tending to a yellow color and with evident shredding. In particular, a loss of tissue of 5 × 5 cm was evident in the right shoulder, close to the edge, where the design was totally missing. Moreover, on this side, the main cloth was detached from the lining for 23 cm. From this loss, three cuts originated: one of 5 cm (×1) in the direction of the anterior part, one lateral of 4 cm (×1) and one of 10 cm towards the back (×1.5). Under these cuts, in the direction of the front side, there was another 3 × 0.3 cm missing space. The left shoulder showed a small missing space of 0.4 × 0.2 cm and a cut of 3 × 0.2 cm. On the back, conﬂuent big stains of a yellow ochre color could be seen. They are evident especially in the parts without design. Three more evident stains were located on the lower right side; going from top to bottom: one oval stain of 14 × 10 cm; one S-shaped stain of 14 × 10 cm; one oval stain of 4 × 5 cm. Some lighter zones were also located next to the central design, one oval of 3 × 2 cm in particular. Heritage 2021, 4 1632

Eight cuts were present along the decorated right border, two of which were horizontal and very evident, caused by dried folding. On the left, in the undecorated part, a very deteriorated zone of 15 × 19 cm was visible, caused by rubbing. The chasuble had 25 cuts, stains, discoloration and dry folding. There were 25 cuts in the part close to the border, ranging from 0.5 to 6 cm, three horizontal and the other 22 vertical. The conditions of the stole cannot be deﬁned as optimal. A diffuse and light layer of dust covered the very fragile cloth, with cuts at the two extremities of a size variable from 1.5 to 1 cm. No big stains were evident, but only smaller ones with a diameter of approximately 0.5 cm. On the lining of the stole, apart from the dust, two stains were Heritage 2021, 4 FOR PEER REVIEWvisible at the extremities (Figure A1), one on the left of approximately 42 × 5 cm and one17

on the right of 45 × 10 cm.

Figure A1. Detail of an area on the verso of the stole. Figure A1. Detail of an area on the verso of the stole.

ThereThere was was also also anan additionaladditional one of of 2 2×× cm.cm. The The lining lining was was intact, intact, with with no cuts no cuts or gaps. or gaps. The conservation of the maniple was acceptable: besides the widespread dust on the wholeThe surface conservation, the most of the evident maniple characteristic was acceptable: was the besides presence the widespread of very lively dust colors on the on wholethe right surface, side the, indicating most evident that it characteristic was likely sketched was the presence and assembled of very livelysometime colors later on thethan rightthe left side, side. indicating There were that itno was evident likely stains, sketched just andlittle assembled ones in proximity sometime of later the thangeometric the leftdesign. side. ThereThe lining, were nosmaller evident than stains, the principal just little clothing, ones in proximity caused the of theformation geometric of cuts. design. De- Thescribed lining, in smallermore detail, than thebeginning principal from clothing, the lighter caused zone the formationon the left, of next cuts. to Described the border, in a moresmall detail, 12 cm beginning long vertical from fold the was lighter created, zone which on the caused left, next a cut to the 9.5border, cm long. asmall A horizontal 12 cm longcut of vertical 3 cm was fold also was visible. created, which caused a cut 9.5 cm long. A horizontal cut of 3 cm was alsoOn visible. the border, two gaps of approximately 1.5 × 0.2 cm were present. The border was veryOn worn, the border, almost two to the gaps point of approximately of being open. 1.5 Continuing× 0.2 cm werethe analysis present. of The the border cloth, it wasshowed very worn,an evident almost vertical to the fold point in ofthe being central open. area Continuing going from the the analysis left to the of theright cloth, border, it showedwhich caused an evident the clot verticalh to be fold worn in the to centralthe point area of being going torn. from There the left were to the four right cuts border, caused whichby the caused dry folding, the cloth three to be of worn 2 cm to and the one point of of4 beingcm. The torn. border, There where were fourthe cutscloth caused has the bybrightest the dry colors, folding, had three a long of 2vertical cm and fold one of of 13 4 cm, cm. which The border, caused wherea cut of the 10 clothcm. Moreover, has the brightestat 3 cm from colors, the had border, a long avertical vertical fold cut of 134.4cm, cm whichwas visible. caused In a addition cut of 10, cm.in this Moreover, area, the atborder 3 cm from was very the border, worn. a vertical cut of 4.4 cm was visible. In addition, in this area, the borderThe was two very lateral worn. folds, next to the borders, correspond to the inverse sewing, which holdsThe the two lining lateral and folds, the principal next to the cloth borders, together. correspond Two small to the gap inverses of 0.2 sewing, × 0.2 cm which were holdspresent the on lining the borders. and the principal cloth together. Two small gaps of 0.2 × 0.2 cm were presentThe on maniple the borders. lining was in excellent condition, except for some dust evident on the surface.The manipleThe cloth lining was intact, was in with excellent no stains, condition, discoloring except or for holes. some dust evident on the surface.The The little cloth ribbon was intact,was also with in noacceptable stains, discoloring condition, orshowi holes.ng a widespread dust layer which dampened the original brightness. There were evident diffuse yellow stains, especially at the extremities. The ribbon had rolled borders for 28 cm on both sides. The chalice veil was in moderately good condition of conservation. Besides a widespread light layer of dust on both sides, it had numerous small oxidation stains, which were very evident in the sections without the design. Analyzing the front side, the presence of single oxidized threads is evident because of the almost brown color. A big 12.5 × 12.5 cm stain was also visible in the central part of the principal design in the lower part. It had the same shape as the frame containing the design. Furthermore, some holes were present: six very little oval-shaped holes with a diameter of 0.5 × 0.3 cm and three vertical segments, measuring 3.5 × 0.2, 2.3 × 0.2 and 1.5 × 0.2 cm, respectively. The last two in particular were vertically placed over three other horizontal rips, caused by a fold on the left of the veil, located in the center between the borders. The back was complete without any cuts or breakages, but with evident small stains over the whole surface. The biggest

Heritage 2021, 4 1633

The little ribbon was also in acceptable condition, showing a widespread dust layer which dampened the original brightness. There were evident diffuse yellow stains, especially at the extremities. The ribbon had rolled borders for 28 cm on both sides. The chalice veil was in moderately good condition of conservation. Besides a widespread light layer of dust on both sides, it had numerous small oxidation stains, which were very evident in the sections without the design. Analyzing the front side, the presence of single oxidized threads is evident because of the almost brown color. A big 12.5 × 12.5 cm stain was also visible in the central part of the principal design in the lower part. It had the same shape as the frame containing the design. Furthermore, some holes were present: six very little oval-shaped holes with a diameter of 0.5 × 0.3 cm and three vertical segments, measuring 3.5 × 0.2, 2.3 × 0.2 and 1.5 × 0.2 cm, respectively. The last two in particular were vertically placed over three other horizontal rips, caused by a fold on the left of the veil, located in the center between the borders. The back was complete without any cuts or breakages, but with evident small stains over the whole surface. The biggest stain of 14 × 6 cm was on the upper left side. There were also two others of 8 × 9 and 3 × 2.5 cm, respectively. Another 1 × 0.7 cm stain of a dark blue color was located on the upper edge. In general, both the oxidation marks and stains were barely visible because of their light color. On the right-hand border, a small group of Bordeaux red stains were, however, evident. The purse was in a relatively good state of conservation. It showed a widespread layer of dust on both sides and three small round stains, two of which were due to oxidation; more precisely, one of 3 cm of dark ochre color, in the corner of the lower left-hand side, and a second one of 0.7 cm in the upper left corner near the design. The third stain was wax, placed horizontally on the right side, starting from the border for a length of 2 × 0.2 cm. Other very small oxidation stains were present over the entire surface of the purse. In addition, six oval stains with a maximum width of 0.4 cm caused a complete loss of the color and consequently of the design. The textile was undamaged with the exception of the four corners, in which four holes were present, revealing the filling. The whole purse was slightly deformed due to the humidity absorbed by the filling material, which we presume was made of cardboard or parchment, both quite hygroscopic, and therefore easily deformed. The purse lining was also in a relatively good state of conservation, except for the presence of widespread dust and two oxidation marks, one darker of 1 × 2 cm on the upper left side and one lighter of 1 × 0.3 cm. A small piece was missing on the vertical lower left end border, measuring 0.7 × 0.5 cm. On the opposite vertical side, next to the border, a small hole was present. The four corners of the lining showed a lack of cloth with holes of approximately 0.7 × 0.5 cm.

Appendix A.6. Conservation Operations We performed a series of sequential interventions on every piece. More precisely, we started from sketches with the state of conservation, using permanent markers on Melinex® in order to establish legends with different shapes and colors and to underline the perimeter of the pieces, folds, cuts, missing pieces, discoloring, discoloring with folds, dark lines, Bordeaux stains, dark stains and foxing. On each piece and its respective lining, photographic images were acquired before, during and after the conservation process. We then proceeded to remove the dust with a low power micro-aspirator, which could be adjusted to the front and back side of each piece, on all surfaces and on the linings, after testing the micro-aspiration in order to establish the necessary power and duration of the machine’s use. The micro-aspirator was fitted with special blown glass cannulas of various shapes and dimensions, adaptable to all conservation conditions, for an accurate intervention for each aspiration required. The lining was connected on the perimeter with the main cloth of the chasuble with stitches “a filza”, with a distance from the border of 0.1 cm. In addition, there were four sewing lines, the first at 4.5 cm from the border, the second at 7.5 cm and the third at 10 cm. All these sewing lines were parallel to the perimeter of the vestment, both vertically and Heritage 2021, 4 1634

horizontally, with inverse sewing stiches at a distance that varied from approximately 0.5 to 1 cm. At the neck, the chasuble was sown to the lining with an “under stitch”, which was very abundant relative to the principal cloth, and therefore protruded 0.2 cm from the chasuble. Only on the horizontal side did the lining not protrude, and was instead attached to the painted textile with “a ﬁlza” stitches. Although we tried to keep the original sewing intact Heritage 2021, 4 FOR PEER REVIEWin all of the pieces, since it was performed with particular materials that are no longer in19

use, and to respect the original manufacturing techniques, we nonetheless decided to undo some parts in order to be able to proceed to further phases of cleaning and consolidation. WeWe also also dismantled dismantled the the linings linings of of the the chasuble chasuble using using surgical surgical scalpels scalpels and and scissors scissors (Figure(Figure A2 A2)), and, and therefore therefore tried tried to to obtain obtain some some threads threads from from the the original original silk silk stitching stitching to to use a thread of the same type and thinness to reassemble the individual pieces. use a thread of the same type and thinness to reassemble the individual pieces.

FigureFigure A2. A2.Detail Detail of of the the dismantling dismantling of of the the linings linings of of the the chasuble. chasuble.

AnotherAnother fundamental fundamental phase phase forfor the the preservation preservation of of the the integrity integrity of of the the extremely extremely damageddamaged cloth cloth was was to to place place some some partial partial temporary temporary supports supports in in tulle tulle or or silk silk organza organza with with longlong stiches stiches of of silk silk thread. thread. TheThe cleaning cleaning of of the the chasuble chasuble was was performed performed on the on stained the stained and discoloredand discolored zones zones only, inonly, particular in particular on the on parts the withoutparts without decoration. decoration. We prepared We prepared some some cotton cotton swabs swabs covered cov- withered small with small pieces pieces of cloth. of cloth. Each Each cloth cloth to clean to clean was was positioned positioned on on a portablea portable table table with with lowlow pressure, pressure, secured secured with with small small weights weights under under which which Melinex Melinex®®was was placed placed as as protection. protection. WithWith these these little little cotton cotton swabs, swabs, we we cleaned cleaned the the surface surface with with deionized deionized water. water. To To speed speed up up thethe drying drying and and avoid avoid further further discoloring, discoloring, whilst whilst using using the the wet wet swabs, swabs, we we simultaneously simultaneously blewblew cold cold air. air. TheThe cleaning cleaning with with swabs swabs on on the the stains stains was was not not repeated repeated more more than than twice twice because because of of thethe extreme extreme fragility fragility of of the the cloth, cloth, which which might might be be broken broken or or torn torn by by rubbing. rubbing. TheThe same same cleaning cleaning method, method, with with swabs swabs on on a a low-pressure low-pressure table, table, was was performed performed on on thethe lining lining of of the the chasuble. chasuble. ForFor thisthis phase we we divided divided the the chasuble chasuble in inzones zones and and sectors, sectors, with with letters letters of the of alpha- the alphabetbet used usedto underline to underline and document and document cuts and cuts missing and missing pieces. pieces. We began We beganfrom the from front the in frontan area in an indicated area indicated with the with letter the “ letterA” that “A” was that more was degraded more degraded and susceptible and susceptible to further to furthercuts and cuts losses and of losses decorated of decorated zones and zones we and arrived we arrived at the letter at the “ letterP”. We “P”. decided We decided to consol- to consolidateidate the original the original cloth clothwith withpartial partial supporting supporting material material in organza in organza-colored-colored “givrè” “givr silk.è” silk.This This cloth cloth was waswetted wetted and anddried dried on a onglass a glass table, table, the supporting the supporting material material in direct in direct stitch stitchwas then was theneliminated, eliminated, and entomological and entomological needles needles were wereplaced placed beneath beneath the zones the zonesunder underrestoration, restoration, trying trying to put to together put together the borders the borders of the of cuts the cutsas much as much as possible. as possible. After After that, that,we fixed we fixed the theborders borders of ofthe the cuts cuts or or missing missing pieces pieces with with “filze” “filze” made ofof “givr“givrè”è” organza organza threads.threads. Additionally, Additionally, the the supporting supporting cloth cloth of of the the border border was was fixed fixed with with small small “filze” “filze” of of thethe same same type type of of thread. thread. In In the the area area with with losses losses of of cloth, cloth, we we placed placed organza organza sustainers sustainers and and insertsinserts of of pure pure silk silk ermesino ermesino of of the the same same nuance nuance color color as as the the chasuble, chasuble, always always attached attached with “filza” stitching, with thread obtained from “givré” organza. After restoration of the back, we proceeded with the front. The same procedure was followed with the lining, using “Lyon veil” instead of pure silk organza. Coming back to the chasuble, after consolidation by sewing, we intervened on the inserts fixed in the areas with loss of cloth in order to add the missing design with water colors and silk of various nuances. In order to reconstitute the decoration on the big missing zone on the shoulder, we reproduced the design of the intact part on Melinex® and transposed it onto the silk insert of the missing zone (Figure A3).

Heritage 2021, 4 1635

with “ﬁlza” stitching, with thread obtained from “givré” organza. After restoration of the back, we proceeded with the front. The same procedure was followed with the lining, using “Lyon veil” instead of pure silk organza. Coming back to the chasuble, after consolidation by sewing, we intervened on the inserts ﬁxed in the areas with loss of cloth in order to add the missing design with water colors and silk of various nuances. In order to reconstitute the decoration on the big missing zone on the shoulder, we ® Heritage 2021, 4 FOR PEER REVIEWreproduced the design of the intact part on Melinex and transposed it onto the silk insert20 of the missing zone (Figure A3).

Figure A3. Reconstruction of the geometrical decoration on Melinex® . Figure A3. Reconstruction of the geometrical decoration on Melinex®.

Later,Later, we we added added the the missing missing colors. colors. During During this this procedure, procedure, we we did did not not retouch retouch the the originaloriginal parts parts but but just just the the new new areas, areas, to to maintain maintain the the originality originality of of the the artifact. artifact A. A few few stains stains andand halos halos were were further further thinned thinned out out with with watercolor watercolor pencils. pencils. After After these these phases phases and and before before thethe ﬁnal final mounting, mounting, everything everything was was ironed ironed at at 48 48◦ C,°C, with with the the protection protection of of an an acid-free acid-free thin thin paper.paper. The The heated heated iron iron was was used used to to smooth smooth the the tissue tissue and and stabilize stabilize the the colors. colors. InIn the the next next phase, phase, every every part part of of the the chasuble chasuble was was re-attached re-attached to to the the original original lining, lining, lockedlocked with with an an under-stitching, under-stitching, joining joining the the two two cloths cloths with with long long stiches stiches on on the the inside inside and and shortshort stitches stitches on on the the outside, outside, using using thinly thinly woven woven silk silk thread. thread. Finally,Finally, all all the the parts parts of of the the artifact artifact were were put put together together using using three three parallel parallel stitching stitching techniques:techniques: “reverse “reverse thread”, thread”, “under “under thread” thread” and and “ﬁlza”, “filza”, according according to needsto needs and and respecting respect- theing sequences the sequences of the of originalthe original stitching. stitching. Accordingly, Accordingly, pieces pieces of of the the original original threads threads were were recuperatedrecuperated to to carry carry out out part part of of the the stitching. stitching. Therefore, Therefore the, the lining lining of of the the “recto “recto (front)” (front)” of of thethe chasuble chasuble was was stitched stitched together together with with the the silk silk ribbon ribbon that that had had been been cleaned cleaned and and ironed ironed beforehand.beforehand. BothBoth the the stole stole and and the the maniple maniple were were restored restored while while trying trying not to not completely to completely dismount dis- themount relative the linings,relative sparinglinings, assparing much asas possiblemuch as ofpossible the original of the sewing. original The sewing. same The cleaning same withcleaning swabs with on swabs a low-pressure on a low-pressure table was table also was performed also performed on the on stole the andstole theand maniple the man- (Figureiple (Figure A4). A4).

Figure A4. Cleaning procedure with a cotton swab on the verso of the stole to remove stains.

In the parts where we were obliged to intervene with inserts sown with a needle, such as areas of the cloth cut or missing, we undid parts of the linings and put little carton- plume rods between the lining and the cloth, to avoid the possibility that the stiches used to link the sustaining parts of the process would not be sown to the lining.

Heritage 2021, 4 FOR PEER REVIEW 20

Figure A3. Reconstruction of the geometrical decoration on Melinex® .

Later, we added the missing colors. During this procedure, we did not retouch the original parts but just the new areas, to maintain the originality of the artifact. A few stains and halos were further thinned out with watercolor pencils. After these phases and before the final mounting, everything was ironed at 48 °C, with the protection of an acid-free thin paper. The heated iron was used to smooth the tissue and stabilize the colors. In the next phase, every part of the chasuble was re-attached to the original lining, locked with an under-stitching, joining the two cloths with long stiches on the inside and short stitches on the outside, using thinly woven silk thread. Finally, all the parts of the artifact were put together using three parallel stitching techniques: “reverse thread”, “under thread” and “filza”, according to needs and respecting the sequences of the original stitching. Accordingly, pieces of the original threads were recuperated to carry out part of the stitching. Therefore, the lining of the “recto (front)” of the chasuble was stitched together with the silk ribbon that had been cleaned and ironed beforehand. Both the stole and the maniple were restored while trying not to completely dis- Heritage 2021, 4 mount the relative linings, sparing as much as possible of the original sewing. The same1636 cleaning with swabs on a low-pressure table was also performed on the stole and the maniple (Figure A4).

FigureFigure A4. A4.Cleaning Cleaning procedure procedure with with a a cotton cotton swab swab on on the the verso verso of of the the stole stole to to remove remove stains. stains.

InIn the the parts parts where where we we were were obliged obliged to intervene to intervene with with inserts inserts sown sown with awith needle, a needle, such assuch areas as ofareas the clothof the cut cloth or missing,cut or missing, we undid we partsundid of parts the linings of the linings and put and little put carton-plume little carton- rodsplume between rods between the lining the and lining the cloth,and the to cloth, avoid to the avoid possibility the possibility that the that stiches the used stiches to linkused theto link sustaining the sustaining parts of parts the process of the wouldprocess not would be sown not be to sown the lining. to the lining. To connect the sustaining parts, we used the same method used for the chasuble. In the parts with defective borders, especially in the folds, the sustaining parts were ﬁxed with “ﬁlze”; then, the borders were folded over silk sustainers and sown to the principal cloth, maintaining the original threads and stiches.

The purse was micro-aspirated and whenever possible the spots of oxidation were lightened with very small cotton pads wetted with 3% hydrofluoric acid in distilled water. In the four corners, we introduced small pads of ermesino silk sewn with thread to cover the filling cloth. To correctly deform the purse, it was placed under appropriate weights. The same procedures for spot removal and integration were made on the lining, when necessary, interposing small fragments of Lyon canvas or organza secured with thread stitching. The chalice veil was micro-aspirated on both sides. The lining was undone only in the zones in which interventions were necessary and, in particular, close to the oxidation spots, treated with tampons imbued with 3% hydrofluoric acid in distilled water on a portable low-pressure table, according to the type of spot to remove. On the lining, we also positioned little stands of Lyon veil under all missing parts. The front was in better conditions and was only cleaned, treating the spots with tampons in distilled water on a low-pressure table. The lining of both artifacts was re-sewn with the original thread.

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