Detectors are a key feature of the contemporary scientific approach to cultural heritage (CH), both for diagnostics and conservation. INFN-CHNet is the network of the Italian National Institute of Nuclear Physics that develops and applies new instrumentation for the study of CH. This process results in both optimized traditional state-of-the-art and highly innovative detection setups for spectrometric techniques. Examples of the former are X-rays, gamma-rays, visible-light and particles spectrometers tailored for CH applications, with optimized performances, reliability, weight, transportability, cost, absorbed power, and complementarity with other techniques. Regarding the latter, examples are ARDESIA, the array of detectors at the DAΦNE-Light facility, the MAXRS detection setup at the Riken-RAL muon beamline and the imaging facilities at the LENA Laboratory. Paths for next-generation instruments have been suggested, as in the case of the X-ray Superconductive Detectors and X-ray Microcalorimeter Spectrometers, allowing astonishing improvement in energy resolution. Many issues in CH can now be addressed thanks to scientific techniques exploiting the existing detectors, while many others are still to be addressed and require the development of new approaches and detectors.

At present, macro X-ray fluorescence (MA-XRF) is one of the most essential analytical methods exploited by heritage science. By providing spatial distribution elemental maps, not only does it allow for material characterisation but also to understand, or at least to have a likely idea of, the production techniques of an analysed object. INFN-CHNet, the Cultural Heritage Network of the Italian National Institute of Nuclear Physics, designed and developed a MA-XRF scanner aiming to be a lightweight, easy to transport piece of equipment for use in in situ measurements. In this study, the INFN-CHNet MA-XRF scanner was employed for the analysis of a painting by the Flemish artist Rogier van der Weyden. The painting belongs to the collection of the Uffizi gallery in Florence and was analysed during conservation treatments at the Opificio delle Pietre Dure, one of the main conservation centres in Italy. The research aims were to characterise the materials employed by the artist and to possibly understand his painting technique. Although MA-XRF alone cannot provide a comprehensive characterisation, it nonetheless proved to be an invaluable tool for providing an initial overview or hypothesis of the painting materials and techniques used.