| Summary: | The spectra of art can be defined as figurative objects that are often very damaged, sometimes invisible (but able to reappear), and which bear traces of assault or other types of intentional gestures destined to modify the appearance of images. This contribution focuses not only iconoclastic acts and meaningful alterations, but also on the efforts made to restore works of art that were altered over time. The palimpsest traces taken under consideration belong to a coherent body of paintings from the Trecento that depict crowned figures. Referring to the Christ in majesty iconography, in turn traditionally associated with that of the emperor, the image of a dominus holding a sceptre and a globe communicates a powerful feeling of domination, leading to acts of manipulation and destruction. In this view, the overlooked spectra of art cases concerning Giotto, Ambrogio Lorenzetti and Simone Martini are read in the context of the Angevine domination of Italy and the Risorgimento. Ultimately, the spectra of art call into question the traditional theories of restoration attached to the paradigmatic singularity of painting as an autographic art and to art conservation and restoration.
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