Insights on Funeral Practices and Insects Associated With the Tombs of King Ferrante II d'Aragona and Other Renaissance Nobles

The impressive Sacristy of the Basilica of San Domenico Maggiore contains 38 wooden sarcophagi with the bodies of 10 Aragonese princes and other Neapolitan nobles, who died in the 15th and 16th centuries. To improve the knowledge about the entomofauna associated with bodies in archaeological contexts, herein we provide insights on the funerary practices and the insect community associated to Ferrante II King of Naples and other Italian Renaissance mummies of the Aragonese dynasty buried in the Basilica of St. Domenico Maggiore. We identified 842 insect specimens: 88% were Diptera (Muscidae, Fanniidae, and Phoridae), followed by 9% Lepidoptera (Tineidae) and 3% Coleoptera (Dermestidae and Ptinidae). Ninety-seven percent of the specimens were collected from the coffin of Francesco Ferdinando d'Avalos, which was the best preserved. A lack of fly species characterizing the first colonization waves of exposed bodies was noted. The most common fly was the later colonizing muscid Hydrotaea capensis (Wiedemann); only a few Fanniidae (Fannia spp.) were retrieved. The lack of blowflies, coupled with recording H. capensis as the dominant fly, supports our hypothesis that corpses have been kept indoors for a long time under confined environmental conditions. Other explanations include odorous oils/balms having been used in the embalming process, causing the delay or stopping the arrival of first colonizer flies. Hermetically sealing of the coffin with bitumen may also have played a role in preventing access to the corpses. This scenario describes a historical context characterized by a well-advanced knowledge of body preparation, with specific burial techniques adopted for nobles.

Looking for Common Fingerprints in Leonardo's Pupils Using Nondestructive Pigment Characterization

Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on 21 Leonardesque paintings applying in situ X-ray fluorescence (XRF) and fiber optic reflection spectroscopy (FORS) analyses. In-depth data evaluation allowed to get information on the color palette and the painting technique of the different artists and workshops . Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross-sections was made), and ground preparation.

Thyroid swellings in the art of the Italian Renaissance

BACKGROUND

Thyroid swellings in the art of the Italian Renaissance are sporadically reported in the medical literature.

METHODS

Six hundred paintings and sculptures from the Italian Renaissance, randomly selected, were analyzed to determine the prevalence of personages with thyroid swellings and its meaning.

RESULTS

The prevalence of personages with thyroid swellings in the art of Italian Renaissance is much higher than previously thought. This phenomenon was probably secondary to iodine deficiency. The presence of personages with thyroid swelling was related to specific meanings the artists wanted to show in their works.

CONCLUSIONS

Even if the function and the role of the thyroid were discovered only after thyroidectomy was started to be performed, at the beginning of the 19th century, artists of the Italian Renaissance had the intuition that thyroid swellings were related to specific psychological conditions. Artistic intuition and sensibility often comes before scientific demonstration, and it should be a guide for science development.