The results have revealed a remarkably complex painting, preserving evidence of multiple phases of execution and later intervention. According to the research conducted to date, the painting originally depicted Philip de Wignacourt, brother of Grand Master Alof de Wignacourt, and was subsequently transformed into the figure of Archimedes. The evidence suggests that this later reworking may have involved Mario Minniti, Caravaggio's close associate and collaborator. ​ The work has undergone extensive technical examination, including X-radiography, infrared reflectography, hyperspectral imaging, pigment analysis, and artificial intelligence-assisted image evaluation. ​ Technical studies prepared by Dr. Roberta Lapucci, Dr. Alessandra Gregori, and Professor Hassan Ugail of the University of Bradford have identified significant features consistent with Caravaggio's technique and working methods, particularly within the principal passages of the composition. ​ Of particular importance is the discovery of an earlier composition beneath the visible paint layers, including traces associated with a Medusa motif, one of the artist's most celebrated subjects. Scientific examination also revealed materials and technical characteristics associated with Caravaggio's practice, including quartz particles embedded within the paint structure, as well as concealed markings and numerical notations between successive paint layers. The investigations further documented a series of historical interventions and repaintings that progressively transformed the original military portrait into the symbolic representation of Archimedes — mathematician, philosopher, and legendary defender of Syracuse. ​ Dr. Roberta Lapucci prepared both the technical report and accompanying art-historical analysis of the painting, while Dr. Alessandra Gregori provided an independent assessment of attribution and value. The painting was also examined using deep-learning image analysis conducted by Professor Hassan Ugail of the University of Bradford, whose findings were considered alongside the technical and art-historical evidence.