Paper Conservation Department, National Gallery of Art, Washington, DC, USA A paradigm using multispectral visible and near-infrared imaging spectroscopy is presented to semiautomatically create unbiased spectral maps that guide the site selection for in situ analytical methods (e.g. fiber optic reflectance spectroscopy and X-ray fluorescence) in order to identify and map pigments in illuminated manuscripts. This approach uses low spectral resolution imaging spectroscopy to create maps of areas having the same spectral characteristics. This paradigm is demonstrated by analysis of the illuminated manuscript leaf Christ in Majesty with Twelve Apostles (workshop of Pacino di Buonaguida, c. 1320). Using this approach the primary pigments are mapped and identified as azurite, lead-tin yellow, red lead, a red lake (likely insect-derived), a copper-containing green, brown iron oxide, and lead white. Moreover, small amounts of natural ultramarine were found to be used to enhance the blue fields around Christ, and a red lake was used to highlight different colors. These results suggest that the proposed paradigm offers an improved approach to the comprehensive study of illuminated manuscripts by comparison with site-specific analytical methods alone. The choice of broad spectral bands proves successful, given the limited palette in illuminated manuscripts, and permits operation at the low light intensity required for examination of manuscripts.

In situ analysis: Near infrared imaging spectroscopy (1000–2500 nm) is used to map the use of a fat‐containing paint binder, likely egg yolk, in situ on a work of art for the first time. The identification of the use of egg tempera on a 15th century illuminated manuscript leaf (Praying Prophet by Lorenzo Monaco) sheds light on the relationship between painters and illuminators and can inform preservation decisions.

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Broad spectral range reflectance imaging spectroscopy (BR-RIS) from the near UV through the mid–infrared (IR) (350 to 25,000 nm or 28,571 to 400 cm−1) was investigated as an imaging modality to provide maps of organic and inorganic artists’ materials in paintings. While visible–to–near-IR (NIR) reflectance and elemental x-ray fluorescence (XRF) imaging spectroscopies have been used for in situ mapping, each method alone is insufficient for robust identification. Combining the two improves results but requires complex data processing. To test BR-RIS, image cubes from early Italian Renaissance illuminated manuscripts were acquired using two spectrometers. Maps of pigments, including trace minerals associated with mined azurite, and their associated binding media were made. BR-RIS has a more straightforward analysis approach as implemented here than visible-to-NIR, mid-IR, or XRF imaging spectroscopy alone and offers the largest amount of macroscale information for mapping artists’ materials by comparison.

In‐situ‐Analyse: Nahinfrarot‐Reflexionsspektroskopie (1000–2500 nm) wurde eingesetzt, um erstmals die Verwendung von fetthaltigen Bindemitteln, wahrscheinlich Eigelb, in einem Kunstwerk in situ zu kartieren. Die Identifizierung von Eitempera auf einer illuminierten Manuskriptseite (Betender Prophet von Lorenzo Monaco) wirft Licht auf die Beziehung zwischen Malern und Illuminatoren und kann wertvolle Informationen für Konservierungsmaßnahmen liefern.