Raman Spectroscopy In Archaeology And Art History

Volume 1. Ramen spectroscopy allows the non-destructive examination of objects of archaeological and historical importance to characterise their chemical composition and structure and help determine their provenance. The authors give an explanation of Raman spectroscopy and an introduction to the techniques used. Seventeen case studies are given to show work on : dyes and pigments ; artefacts ; biological materials and degradation ; and jewellery and precious stones. It also describes a database of 74 Raman spectra of standard minerals of relevance to metal corrosion, stained glass, and prehistoric rock art.

Raman Spectroscopy in Archaeology and Art History highlights the important contributions Raman spectroscopy makes as a non-destructive method for characterising the chemical composition and structure and in determining the provenance and authenticity of objects of archaeological and historical importance. It brings together studies from diverse areas and represents the first dedicated work on the use of this technique in this increasingly important field. Coverage includes: An Introduction to Raman Spectroscopy, including practical aspects of Raman spectroscopy and complementary techniques; Dyes and Pigments; Artefacts; Biological Materials and Degradation; Jewellery and Precious Stones. The book contains a broad selection of real-world examples in the form of case studies to provide the reader with a true appreciation of the procedures that need to be invoked to derive spectroscopic information from some of the most challenging specimens and systems. Colour illustrations of objects of investigation and a database of 72 Raman spectra of relevant minerals are included. With its extensive examples, Raman Spectroscopy in Archaeology and Art History will be of particular interest to specialists in the field, including researchers and scientific/conservation staff in museums. Academics will find it an invaluable reference to the use of Raman spectroscopy.

This book will introduce the reader to the wide variety of analytical techniques that are employed by those working on the conservation of materials. An introduction to each technique is provided with explanations of how data may be obtained and interpreted. Examples and case studies will be included to illustrate how each technique is used in practice. The fields studied include: inorganic materials, polymers, biomaterials and metals. Clear examples of data analysis feature, designed to assist the reader in their choice of analytical method.

Analytical Archaeometry describes this interesting and challenging field of research - on the border between natural sciences (chemistry, spectroscopy, biology, geology) and humanities (archaeology, (art-)history, conservation sciences). It fills the gap between these two areas whilst focussing on the analytical aspects of this research field. The first part of the book studies the main analytical techniques used in this research field. The second part expands from the different types of materials usually encountered, and the final part is organised around a series of typical research questions. The book is not only focussed on archaeological materials, but is also accessible to a broader lay audience. Overall the book is clearly structured and gives insight into different approaches to the study of analytical providing extensive discussion on a wide range of techniques, materials, questions and applications. Due to the advances in analytical instrumentation and applications in this field, it is important to have all this information merged together. Academics as well as professionals in archaeology, art history, museum labs and conservation science will find this an invaluable reference source ensuring the reader is provided with the latest progress in this research field.

This book addresses the application of Raman spectroscopic techniques to a range of diverse problems which arise in the study, conservation and restoration of artefacts and sites closely related to our cultural heritage as well as in authentication. These themes are naturally wider than what at first might be considered as artworks and archaeological artefacts and the topics include pigments, paintings, ceramics, glass, sculpture and patination / corrosion, textiles, industrial archaeology, the degradation and preservation of biomaterials, mummies and human skeletal remains. An interesting feature is the inclusion of modern case studies which describe specific problems and approaches to the Raman spectral analysis of items important to our cultural heritage. The text is prefaced with an introduction to the important parameters used in nondestructive Raman measurements and also highlights some future applications based upon novel miniaturised instrumentation for in-field studies and potential screening work which will identify specimens which would repay further studies in the laboratory. An attempt is made to give a snapshot of the state-of-the-art evolution since the beginning of the technique (1970s) and to point out potential further development. The book is co-edited by three international experts with many years' experience in the application of Raman spectroscopy to artworks, archaeological artefacts and in the investigation of materials and sites for cultural heritage preservation and each editor has undertaken to write individual chapters and different topics personally. The adopted approach is designed to convey the sort of information which has become available from the adoption of analytical Raman spectroscopy to different problems in the field of cultural heritage preservation through the spectral interrogation of artefacts and how the interpretation of the spectral data can assist museum curators, archaeologists and cultural heritage historians in the preservation and conservation of ancient materials and sites : a particular advantage in this respect is the ability of Raman spectroscopy to determine –generally in a strictly noninvasive procedure - at the laboratory or on-site with mobile instruments, the presence of both organic and inorganic components in a particular specimen together nondestructively without any chemical and mechanical pretreatment being undertaken, which is an essential requirement for rare and valuable samples . An important aside from this work is the means of spectral identification of ongoing biodeterioration and biological colonisation in specimens in storage and the effects of environmental deterioration such as humidity and temperature upon their integrity.

In Chapter 1 Dudley Creagh writes on "synchrotron radiation and its use in art, archaeometry, and cultural heritage studies". Loic Bertrand has written in Chapter 2 on synchrotron imaging for archaeology and art history, conservation, and palaeontology. Dr. Bertrand is Archaeology and cultural heritage officer at the new French synchrotron, Synchrotron Soleil (Orme les Mesuriers, Gif-sur-Yvette, France). He is charged with the task of raising the awareness of cultural heritage scientists to the use of synchrotron radiation for their research. Chapter 3 has been written by Ivan Cole and his associates Dr David Paterson and Deborah Lau. This is concerned with the holistic modelling of gas and aerosol deposition and the degradation of cultural objects. Dr. Cole is Deputy Chief of the Novel Materials and Processes Division of the Commonwealth Scientific and Industrial Research Organization (Melbourne, Australia). He has over twenty years experience in involvement in projects concerned with the preservation of cultural heritage. Ivan is an internationally recognized leader in the field of the life cycle of materials and the development of protective coatings for metals. In Chapter 4, Giovanna Di Pietro describes two different types of experiments she has undertaken in the study of the mechanisms underlying the degradation of photographic media. In the first Dr. Di Pietro describes the degradation of old back-and-white plate. In the second she outlines her attempts to understand the mechanisms by which comparatively modern motion picture film degrades. A significant part of this project involved trying to ascertain exactly what dyes were used by Kodak in their motion picture film from about 1980 onwards. An entirely new technique for the remote investigation of the pigments in paintings is presented by Maria Kubik in Chapter 5. This technique will significantly enhance the ability of conservators to study the palette of pigments used by artists, check for repairs by others, and detect fraudulent paintings. · Demonstrates the amazing efforts being made in using physical techniques for the study of art, archaeology and cultural heritage · Provides succinct accounts of how cultural heritage is being preserved. · Looks at how science is being used to enrich our knowledge of the creative arts