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It is senseless to content oneself with the personal opinions of experts alone in this age of technology and science.
The art market will become trustworthy only when the art lover becomes a connoisseur and, as envisaged by the law, demands a valid certificate.
These observations therefore attest to the fact that the signature is contemporary with the painting.
An overall examination of the painting under Woods light showed up a little number of restored areas, particularly to the upper right in correspondence with the sky: in fact under Woods light these areas appear as dark patches. 10 taken with the help of specific filters and subsequent digital elaboration.
Having thus ascertained that at least the two side strips of the stretcher are unquestionably original and coeval with this painting, we proceeded to date them scientifically.
The spectroscopic analysis of the wood gave the following results: Many areas of the painting evidence a deep, extensive craquelure.
As a consequence a section of the trade rejects scientific methods out of economic necessity.
The development of the same is also logical: it varies according to the different colours and in particular is more marked in the light-coloured areas which, containing less binder, are also less elastic and the first to develop cracks (macro photos no.5 and no.6).
Near the edges on either side of the painting there are also parallel cracks exactly over the inside corner of the underlying stretcher; this is a characteristic typical of a canvas which has been attached to its stretcher for a long time.
There are different approaches for determining the authenticity of antique paintings: - verifying authenticity through a purely stylistic evaluation - verifying the authenticity of a painting by means of objective tests of the ageing of the material - verifying the authenticity of a painting with the use of scientific instrumental methods.
The combined results of the stylistic, material and scientific investigations will permit the establishing of the compatibility of the painting with presumed elements or its inauthenticity.