## 1 Introduction  
This paper contributes to the Special Issue, Results of the II National Research Project of AIAr: Archaeometric Study of the Frescoes by [PERSON] and Workshop at the Church of San Panfilo in Tornimparte (AQ, Italy), in which the scientific results of the II National Research Project, conducted by members of the Italian Association of Archaeometry (AIAr), are discussed and collected. For in-depth details on the project's aims, see the introduction of the Special Issue [1].  
It is worth explaining that Tornimparte, its hamlet Villagrande, and the entire L'Aquila region suffered a major earthquake in 1703. We do not have a precise record of the damage suffered by the buildings, but it is quite relevant to the fact that the present houses are all post-1700, and the churches are all designed in the Baroque style. Indeed, San Panfilo in Villagrande is a remarkable exception; however, we can speculate it was damaged by the disaster, too. This same region was affected by another great earthquake in 1915 and then again in 2009, which devastated the whole area.  
The ultimate goal of the project is to support the foreseen restoration interventions following the last earthquake through the complete study of the conservation status and the characterization of the original materials, the superimposed ones, and the degradation phenomena affecting the wall paintings. The project involved several Italian groups working on cultural heritage materials: for each aspect of the research, a selected team of researchers from the participant groups was involved. The analyses performed within the project comprise micro-climatic monitoring, multispectral imaging and photogrammetric surveying, degradation mapping, and thermography investigations, alongside the in situ and laboratory material characterizations.  
One of the first steps of the study's project of the pictorial cycle, attributed to [PERSON] at the church of San Panfilo in Villagrande di Tornimparte, is the one presented in this paper. Indeed, immediately after the imaging analyses (used as exploratory techniques for the choice of the region of interest for our study and as the first approach to distinguish between the original and restored areas), noninvasive spectroscopic techniques were applied with the aim of characterizing both original and restoration organic and inorganic paint materials. Namely, digital optical microscopy (OM), X-ray fluorescence spectroscopy (XRF), fiber optics reflectance spectroscopy in the UV-Vis-NIR range (FORS), Fourier transform infrared spectroscopy in the external reflection mode (ER-FTIR), and Raman spectroscopy were used. Each one of these techniques has its own place in the cultural heritage field, and they are often used together in order to overcome specific limits. The synergic application of analytical techniques, exploiting different radiation frequency ranges, indeed allows for obtaining complementary information for a complete picture of the palette [2; 3; 4; 5], main alteration products [6; 7; 8; 9] and organic substances [10; 11; 12; 13; 14]. Despite the poor conservation state of the decorative materials and the presence of several retouched and restored areas, the analytical approach adopted here provided very informative results, not only for the identification of original materials but also for the identification of modern compounds, allowing the individuation of restored areas that can be confirmed and highlighted by results obtained by imaging results [15]. In the present contribution, preliminary outputs are illustrated, and allowed to suggest a few areas, then selected for additional sampling and laboratory analyses.