restored areas. Gaetano Di Pasquale of the University of Naples confirmed the wood of the panel to be Populus, common throughout Italy. Carbon 14 dating gave 64% chance the wood of the panel dated between 1459 and 1523, making it contemporary with Leonardo, who was born in 1452 and died in 1519. The pigments were investigated using energy-dispersive X-ray fluorescence analysis (ED-XRF) and were shown, in the unrestored areas, to be compatible in age with the panel and showed no trace of modern pigments in the unrestored areas; however, the feather was revealed to have been painted in a "modern" titanium-based pigment not used in other parts of the painting. The painting was examined with a Scanning Magnetic Microscope at a 100 μm resolution by Dr Hector Sarno of INNOVA to compose a magnetic map of the painting and to check for illegible letters. Cleaning of the back of the board revealed the reversed inscription "PINXIT MEA" written in iron gall, an ink commonly used by Leonardo. An analysis of the handwriting by graphologist Silvana Iuliano, revealed compatibility with script used by Leonardo in the Atlantic Codex. An analysis of the soft tissue of the face, applying methods used in facial surgery, was made by Prof. Felice Festa of the D'Annunzio University of Chieti–Pescara. The painted image was subject to detailed computer analysis and 3D imaging by Prof. Orest Kormashov, University of Tallinn, Estonia; Gianni Glinni, an engineer for the Museum of Antiche Genti di Lucania, and Helen Kokk, an expert in 3D graphic design. The recreated three-dimensional image was compared with other images believed to represent Leonardo da Vinci, including the iconic red chalk in Turin, the profile drawing believed to be by Leonardo's pupil Francesco Melzi, the painted portrait in the Uffizi and the recently discovered image in the Codex on the Flight of Birds. A conclusion was that all the images, but one, reveal a face that is elongated in the lower two thirds. The image that did not comply was the red chalk so-called self-portrait in Turin, considered by some to be of Leonardo in old age. Luigi Capasso, of the D'Annunzio University of Chieti–Pescara, and Col. Gianfranco De Fulvio, RIS-Ra.C.I.S. Command of the Carabinieri led an investigation into three fingerprints they found in the paint of the Lucan painting and found one of them to be "unambiguous" with the left index fingerprint on the ebony