The ascertainment of the authenticity of this painting has been carried out with scientific tests on the material and through the study of techniques and signs of wear.
In detail: 1) with the spectroscopic dating of the wooden stretcher once proved its originality 2) with stereo microscopic analyses for the study of the painting layer: the drying of the paint binder, the craquelure, the sign left by the stretcher, etc.
In this specific case the analysis did not found a preparatory drawing of the subject below, but it pointed out some parallel lines to external edges, which determine a perimetric rectangle.
The attached photo, which shows the lower corner near the signature, points out very well this characteristic (red arrows).
Wood's light and monochromatic lights permit an evaluation of the extent to which the painting has been restored, touched up and overpainted, as well as the identification of various fluorescent substances.7, 8 e 9 - Infrared reflectography permits an in-depth examination of the painting bringing to light underdrawings or grids, pentimenti, the depth of the craquelure, and identification of restoration work or the use of different materials.
In the past, when called on to appraise and attribute a painting, art experts examined only the surface under natural light.
A superficial examination of this kind was sufficient, however, because it was artistic style and technique they were looking fact that today, as in the future, it is often impossible to attribute a work to an author with certainty, induces the thought that current art appraisal methods are all to the advantage of the market.
It was noted in particular that in the case of the two side strips making up the stretcher there is a perfect correspondence between the holes currently present in the canvas and the holes in the underlying stretcher.
Attached please find photos of the two sides with a red arrow showing the holes in the canvas which match those in the stretcher underneath (photos no.2, no.3 and no.4).