## 4 Conclusions  
In this work, a combined multi-analytical approach, involving both in situ and laboratory-based physical/chemical methodologies, was successfully applied on what is considered as one of the [PERSON]'s masterpieces known as _\"The Glory of St. Barbara\"_ (oil on canvas (460 \(\times\) 305 cm)), located inside the St. Barbara Church in Taverna (Calabria region, Italy).  
In particular, the simultaneous employment of X-ray fluorescence (XRF) spectrometry, electron probe microanalyses (EPMA) coupled with energy-dispersive spectroscopy (EDS) and \(\upmu\)-Raman spectroscopy, allowed us to successfully characterize, both at the elemental and molecular scales, the composition of the raw materials used by the artist both in terms of preparatory components and pigmenting agents, as well as their stratigraphy and morphology. The results obtained not only provided new useful insights for a better knowledge of the pictorial technique and painting palette used by the famous master, but they were also crucial in establishing the state of conservation of the painting as well as whether possible non-documented restoration interventions took place. Furthermore, the presence of recurring elements/compounds for all the examined samples allowed us to confirm the Maltese origin of _\"The Glory of St. Barbara\"_ painting, with such elements/compounds similar to those observed in other paintings by [PERSON] executed during the Maltese period of the artist.  
It is worth noting that all the aforementioned aspects, in the broad context of a scientific examination carried out on artworks of high artistic and historical value, can represent a necessary pre-requisite in terms of optimizing the latest restoration protocols and for the correct selection, by conservators and restorers, of the best cleaning and protection strategies to be applied.  
\begin{table}
\begin{tabular}{c c c} \hline \hline
**Point of Analysis** & **Color** & **Used Pigments and Other Materials** \\ \hline S1, S2 & Red & Vermilion, iron oxides, Pb-based compounds, Ti-based compounds, organic compounds \\ S3, S7, S13, S24, S26, S27 & Orange/yellow-orange/ & Naples yellow, Fe-based compounds, Hg-based compounds, \\ S4, S5, S8, S9 & Green & organic compounds \\ S6, S10, S19, S22, S23, S25 & Flesh tones & Finium, vermilion, iron oxides, calcite, lead white, organic compounds \\ S11, S12, S14, S16, S17, & Blackish-brown/grayish & Carbon black (bone black or ivory black), calcite, lead white, Fe-based compounds, Mg-based compounds \\ S15, S21 & Blue & Indigo, lead white, Co-based compounds, organic compounds \\ S28 & Canvas & Ca-based compounds, S-based compounds, Pb-based compounds \\ \hline \hline \end{tabular}
\end{table}
Table 4: Investigated samples, summarized according to the color of analyzed pigments, together with the main hypotheses regarding the used pigments and other materials deduced from all the analyses carried out in the work.  
**Author Contributions:** Conceptualization, S.G., G.M., M.F.L.R. and V.V.; methodology, F.C., M.R., G.P., A.D. and L.R.; validation, V.C., D.M., M.F.L.R. and V.V.; formal analysis, F.C., M.R., G.P., A.D. and L.R.; investigation, F.C., M.R., G.P., V.C., A.D., L.R., M.F.L.R. and V.V.; data curation, F.C., M.R., G.P., A.D., L.R., M.F.L.R. and V.V.; writing--original draft preparation, F.C., M.R., G.P., S.G., G.M. and V.V.; writing--review and editing, F.C., M.R., G.P., A.D. and L.R.; visualization, V.C., D.M., M.F.L.R. and V.V.; supervision, M.F.L.R. and V.V. All authors have read and agreed to the published version of the manuscript.  
**Funding:** This research received no external funding.  
**Institutional Review Board Statement:** Not applicable.  
**Informed Consent Statement:** Not applicable.  
**Conflicts of Interest:** The authors declare no conflict of interest.