## 1 The AIAr Project
parameters; (3) multispectral investigations--infrared reflectography (IRR), false colour infrared (FC-IR), imaging of luminescence in the visible induced by ultraviolet (UVL) lighting; (4) hypercolorimetric multispectral imaging (HMI); (5) digital optical microscopy in visible and ultraviolet light; (6) traditional and/or pulse compression IR thermography (PuCT, pulse-compression thermography); (7) X-ray fluorescence spectrometry (XRF); (8) external reflectance Fourier transform infrared spectroscopy (ER-FTIR) and/or total attenuated reflectance (ATR-FTIR); and (9) Raman spectroscopy. On the other hand, the micro-destructive techniques on fragments selected on the basis of the first results of the in-situ investigations concerned: (1) Raman spectroscopy and surface-enhanced Raman scattering (SERS); (2) polarizing optical microscopy (OM) and scanning electron microscopy with microanalysis (SEM-EDS) on thin and polished sections; (3) ion chromatography for the analysis of soluble salts; (4) X-ray diffraction analysis (XRD); and (5) mass spectrometry analyses. Figure 6 showed the sampling areas of the 47 micro-fragments sampled from the apsidal basin and on the central part of the vault. In particular, the five pictorial panels were been identified with the letters A, B, C, D, E as follows:  
* Panel A--first painting from the left of the apse basin, depicting \"[PERSON] in the Garden of Gethsemane\";
* Panel B--depicting the \"Coronation with Thorns\";
* Panel C--depicting the \"Crucifixion\" (no longer visible due to deterioration and previous interventions);
* Panel D--fourth panel from the left of the apsidal basin, depicting the \"Lamentation over the Dead Christ\";
* Panel E--fifth panel from the left of the apse basin--Resurrection;
* Vault--central part depicting \"[PERSON] Blessing\". The following section describes the history of the building and the most relevant historical aspects about the frescoes (patronage, chronology, iconographic programme, and artistic reference models), information useful for the understanding and contextualization of the results provided by the project. Figure 6: Panels (from left of the apse) (**A–E**) and (**vault**): Location and denomination of the areas where the 47 fragments of plaster and pictorial layers were taken. Each sampling areas have been selected on the basis of the first results of the in-situ investigations. [PERSON]'s Frescoes in Their Historical Context by [PERSON] (Ministero della Cultura, Soprintendenza Archeologia, Belle Arti e Paesaggio per le Province di L'Aquila e Teramo)  
The church of San Panfilo in Villagrande (declared as a National Monument in 1902) is the only one, among the others located in the several small villages called \"ville\" belonging to the municipality of Tornimparte, that is still preserved in its original architectural shape. Founded around the year 1000, the church is preceded by a large, raised arcade inside of which are walled ashlars from the Roman Era and other fragments from the Middle Ages, including a stone that is engraved with the date 1471--in the opinion of some historians, this could be proof that the church was partially rebuilt after the earthquake of 1461. This belief was expressed by some authors [4,5], according to whom over the centuries the building was extensively reconstructed in those parts that had fallen because of historical earthquakes (among them, the Great Earthquake of 1703 and the Marsica Earthquake of 1915). The facade is bordered on the left by a sloping wall and on the opposite side by the bell tower; it appears to be of modest elevation due to its disproportionate width, having to cover the space of four naves, which are also flanked on the left side by another longitudinal room, practically the same size as the side nave, formerly occupied by the ossuary and used since 1832 as the Oratory of the Congregation of Our Lady of Sorrows.