In the framework of the FINGERPRINT project (see also posts: Sept 25, 2019 and Sept 27, 2017) graphic artwork of Pieter Bruegel the Elder (or his circle) have been imaged and studied with the Portable Light Dome systems and/or in combination with other imaging methods. Since, some of these researches have been published:

revealing the difference in inks (collection: KBR SII132816, Luxuria)
Watteeuw Lieve, Marina Van Bos, M., Maarten Bassen, Van Grieken Joris, Currie Christina, Vandermeulen Bruno, Hameeuw Hendrik, Martens Maximiliaan 2020: Four Drawings by Pieter Bruegel the Elder: Art-technical Research, in: A. Hoppe-Harnoncourt, E. Oberthaler, S. Penot, M. Sellink, R. Spronk (eds.), Bruegel. The Hand of the Master. The 450 Anniversary Edition. Essays in Context, Vienna, 52-64. (link)


Brisbane Dick Fund, 1932, inv. no. 32.63 woodblock, in a comparison between visualizations with the MSMicroD (color and normal map), as discussed in the reference below.
Watteeuw Lieve 2019: Bruegel’s Drawing of The Dirty Bride (C. 1566). A FINGERPRINT Project Case Study, in: Maarten Bassens; Lieve Watteeuw; Jan Van der Stock; Joris Van Grieken (eds.), Bruegel in Black and White. The Complete Graphic Works, KBR, Brussels and Thames & Hudson, London, 50-57. (link)
For a recent publication in which MA-XRF, standard photographic and multispectral imaging methods have been combined, see:
Watteeuw Lieve, Marina Van Bos, Joris Van Grieken, Maarten Bassens, Bruno Vandermeulen & Hendrik Hameeuw 2021: View of the Strait of Messina, by Circle of Pieter Bruegel the Elder: Drawing Techniques and Materials examined, in: Curie Christina (ed.) The Bruegel Success Story, Papers Presented at Symposium XXI for the Study of Underdrawing and Technology in Painting, Brussels, 12-14 September 2018, Underdrawing and Technology in Painting, Symposia 21, 465-475. (link)