On Ars Geminis. Fakes, Forgeries and Copies of Medieval and Renaissance Paintings: Scientific Diagnostics for Art History

This paper delves into the techniques and proceduresof forgers in order to analyze their productions. A largevariety of methods are implemented: the reuse oforiginal supports, the mixing of original parts withfaked parts, and artificial aging of new materials. Insum, these ‘tricks’ consist of many strategies that aimat simulating the passing of time, to fake an object’shistory through suggestive yet credible effects of agingon surfaces, which were (and are) achieved physically,chemically, or mechanically. The article focuses on thestrategies employed in reusing materials, agingsupports, cracking preparations, altering the pictorialfilms, oxidizing colors and varnishes, and feigningother pathologies such as dirt, wormwood, mold,insect depositions, and even historical restorations,with the intention of deceiving the eye, and ultimatelyimposing on the artworks a past that they never had.Several cases are considered, includingmethodological examples of paintings on panel and canvas, as well as graphic works