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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.
Any incompatibility between the measured ages and information on the presumed author reveals to the owner, before he seeks an expert opinion, that he has acquired one of the myriad recent copies in circulation.
All the above features are typical of an authentic craquelure which has formed naturally and begin to be noticeable about The microscopic examination of the signature (macro photos no.7, and no.8) evidenced its uniformity with the rest of the painting: it can be seen, in fact, that the colour has worn to the same degree, especially in the more protruding areas, and has not penetrated into the fissures of the craquelure as would have been the case if the signature had been inscribed onto a painted surface that was already old.
Examination under Woods light also showed that the reactions of the signature were comparable to those of the rest of the painting (photo no.9 taken under Woods light).
Moreover, the fact that the position of these cracks corresponds to that of the inside corner of the current stretcher is further confirmation that the side strips are definitely original.
When pressure is applied by a special instrument (durometer) on the paint layer, which is fairly hard as a result of the drying of the paint binder and the colours, it tends to crack rather than warp.