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The work presented in this paper is part of a wider research project, which aims at documenting and analyzing stained glass windows by means of hyperspectral imaging. This technique shares some similarities with UV-VIS-IR spectroscopy, as they both provide spectral information; however, spectral imaging has the additional advantage of providing spatial information, since a spectrum can be collected in each pixel of the image. Compared to UV-VIS-IR spectroscopy, spectral imaging has rarely been used for the investigation of stained glass windows. One of the objectives of this paper is, thus, to compare the performance of these two instruments to validate the results of hyperspectral imaging. The second objective is to evaluate the potential of analyzing colored-glass pieces in reflectance modality and compare the results with those obtained in transmittance, in order to highlight the differences and similarities between the two approaches. The geometry of the systems and the backing material for the glass, as well as the characteristics of the glass pieces, are discussed. L*a*b* values obtained from the spectra, as well as the calculated color difference ΔE00, are provided, to show the degree of agreement between the instruments and the two measurement modalities.

This paper pioneers the integration of hyperspectral imaging and robotics for the automated analysis of cultural heritage, representing a measurable advancement over existing manually operated systems. For the first time in the cultural heritage domain, a compact push-broom hyperspectral camera working in the VNIR range has been successfully mounted on a robotic arm, enabling precise and repeatable acquisition trajectories without the need for manual intervention. Unlike traditional approaches that rely on fixed paths or manual repositioning, the proposed approach allows dynamic and programmable imaging of both planar and volumetric objects, greatly improving adaptability to complex geometries. The integrated system achieves spectral reliability comparable to established manual methods, while offering superior flexibility and scalability. Current limitations, particularly regarding the illumination setup, are discussed alongside planned optimisation strategies.

Over 50 works on paper from Egypt, Iraq, Iran and Central Asia dated from the 13th to 19th centuries were examined and analyzed at the Straus Center for Conservation and Technical Studies. Forty-six of these were detached folios, some of which had been removed from the same dispersed manuscript. Paintings and illuminations from five intact manuscripts were also examined and analyzed, although not all of the individual works were included. The study was undertaken to better understand the materials and techniques used to create paintings and illuminations from the Islamic World, with particular attention paid to the diversity of greens, blues and yellows present. The research aimed to determine the full range of colorants, the extent of pigment mixing and the various preparatory drawing materials. The issue of binding materials was also addressed, albeit in a preliminary way.

Over the last decade, hyperspectral imaging has become a popular technique for the non-invasive identification and mapping of painting materials in many typologies of artworks, thanks to the possibility of obtaining spectral information over the spatial region. A few attempts have also been made on stained-glass windows to identify the chromophore elements responsible for glass color. Hyperspectral imaging of stained glass can be complex; in most cases, stained-glass windows are an integral part of buildings, and sunlight represents the natural light source for illuminating these artifacts. While it may be considered an advantage, sunlight is not homogeneous throughout the day, and different weather conditions can affect the quality of the hyperspectral images. In addition, the presence of buildings and vegetation in the background could also modify the colors of the stained-glass windows and consequently alter the characteristic peaks of the chromophores in the spectra. This work aims to solve some of these issues and proposes different strategies to improve the results obtainable in situ. The methodology was tested on stained-glass panels displayed in the windows of the Swiss National Museum. Stained-glass panels located in windows of an internal wall were also analyzed, developing a lighting setup to account for the lack of natural light. Hyperspectral images of the selected stained glass were acquired multiple times, choosing different transmittance references for the preprocessing and exposure time to evaluate differences in the collected spectral images. The use of a diffuser sheet to mitigate the effect of external factors was also tested on some panels exposed to sunlight. Results from representative case studies will be presented to discuss the feasibility and limitations of in-situ hyperspectral imaging applications on stained glass and provide some general recommendations to consider during the acquisitions.