Diagnostic analyses on a contemporary painting on canvas were performed with X-ray fluorescence (XRF), multispectral imaging and scanning electron microscope/energy dispersive spectroscopy (SEM/EDS). The results of each method provided complementary information to deepen the knowledge of the pictorial technique. Multispectral imaging provided insight into the topmost layers. XRF analysis made it possible to characterize the chemical composition of some materials and pigments used by the artist. Additional information such as that relating to canvas preparation emerged with the SEM/EDS technique. The results reveal (i) the use of pre-treated industrial canvas; (ii) the preparatory layer consists of plaster covered with a primer with titanium white, zinc and lithopone; (iii) a layer of cadmium yellow ground was inserted to give depth and three-dimensionality to the painting; (iv) the absence of underlying design; (v) the characterized pigments are all contemporary and (vi) a fixative spray covers the paint.

Two paintings by the Neapolitan Renaissance painter Colantonio were studied with two non-invasive techniques to enrich the technical–scientific documentation. Infrared reflectography (IR) and x-ray fluorescence (XRF) analyses were performed on Saint Jerome in the studio and Saint Francis delivering the Rule, paintings preserved in the Museo e Real Bosco di Capodimonte. The IR scanning was performed to look beyond the visible layers of the paint for the preparatory drawings and pentimenti, or changes made during the painting process. The XRF technique was applied in many points to determine the elemental composition and enable the identification of pigments and materials used in paint and in the preparatory layers. Elemental XRF mapping was also carried out on a region of particular interest. Results provide an initial overview and hypothesis of color palette and techniques used by the artist.

A diagnostic analysis of the painting depicting San Patroba che predica ai fedeli di Pozzuoli by Massimo Stanzione was carried out. The painting was completed in 1635–1637 to decorate the choir of the Cathedral of Saint Procolo in Pozzuoli (Naples, Italy). The technique of X-ray fluorescence (XRF) and multispectral imaging were applied on site to learn about the executive technique, the palette of the painting, and the restoration works, as well as understand the influence of the other painters active in Naples in that period. The results of the research are presented and discussed to draw general aspects and peculiarities of the pigments and the pictorial technique used by this important painter, as well as the restorations.