Chapter 1: Foreword Chapter 2: Historical Overview 2.1. References Chapter 3: Theory and Understanding 3.1. History 3.2. The Raman Effect 3.3.

Instrumentation 3.4. Understanding and Assignment of Raman Spectral Signatures 3.4.1. Peak Wavenumbers and Assignment 3.4.2.

Peak Intensity and Assignment 3.4.3. Molecular and Physical Description of Vibrational Modes 3.4.4. Implication for Spatial Resolution 3.4.

5. Symmetry and Peak Numbers 3.4.6. Laser Choice and Resonance Effects 3.4.7. Raman Tensors and Polarization 3.

4.8. Background subtraction 3.5. Databases; Advantages and drawbacks 3.6. References Chapter 4: Combination of RS and Other Techniques 4.1.

Optical Microscopy and the First RM 4.2. Scanning and Transmission EM 4.3. Castaing Microprobe 4.4. Other Couplings 4.5.

References Chapter 5: Pigments, Dyes and Coloured Agents 5.1. Arts and Colours 5.2. Raman Determination of Coloured Agents 5.3. Coloured Agents , Dyes and Pigments 5.4.

From Alchemy to Chemical Industry 5.5. Advantages and Drawbacks of Raman Microscopy 5.5.1. Smalt or Lapis Lazuli ? 5.5.2.

Natural or Synthetic Ultramarine 5.5.3. High Detectivity 5.5.4. Elimination of Wrong Conclusions from EA 5.5.

5. Identification of Organic Dyes 5.6. Non-destructive and Non-invasive Procedures 5.7. SERS and Associated Techniques 5.8. Data treatment 5.

9. Degradation and Conservation 5.10, Dating 5.11 References Chapter 6: Cultural Heritage Meets Art Forensics 6.1. Introduction 6.2. Case Study 1 : Disappearing Amber 6.

3. Case Study 2 : Cat with Enigmatic Smile 6.4. Case Study 3 : Ming Porcelain 6.5. Case Study 4 : Analysis Baffles Expert Opinion 6.6. Case Study 5 : Insect Trapped in Amber 6.

7. Summary 6.8. References Chapter 7: Jewellery and Gemstones 7.1. Introduction 7.2. Phase identification and Characterisation 7.

3. Provenance Studies 7.4. Distinguishing gems from Glass and Fakes 7.5. Modern Synthetic gems 7.6. Case Studies 7.

6.1. Jade 7.6.2. Corals, Pearls, Mother of Pearl 7.6.3.

Ivory 7.6.4. Ambers and Natural Resins 7.7. On site Spectroscopy of Gems 7.8. References Chapter 8: Cave Paintings and Rock Art 8.

1. Introduction 8.2. Rock Art and Cave Sites Studied by Raman Spectroscopy 8.3. Information from Raman Spectral Data for Cultural Heritage Preservation 8.4. References Chapter 9: From Frescoes to Paintings 9.

1 Efficiency of Raman Microscopy 9.2. Procedures and Artefacts 9.3. Pigments and Dyes 9.4. Examples of Procedures: Measurements at the Laboratory and On-Site 9.5.

Colour Fading and Degradation 9.6. Conclusions 9.7. References Chapter 10 : Analytical Raman Spectroscopy of Manuscripts and Maps : The Role of Inks 10.1. Introduction 10.2.

Origin and Composition of Carbon Black and Iron Gall Inks 10.3. Iron Gall Ink and Manuscript Deterioration 10.4. Coloured Inks 10.5. The Deterioration of Ancient Inks 10.6.

Case Studies 10.6.1. The Vinland Map 10.6.2. The Beato de Valcavado Manuscript 10.6.

3. The Cercelli Gospels and the Gospel of Judas 10.7. Conclusions 10.8 References Chapter 11 : Patina , Corrosion and Conservation Treatment 11.1. Mechanisms of Corrosion and Patination 11.2.

Patinas and Their Raman Signatures 11.3. Stability Towards Corrosion 11.3.1. Iron-Based Artefacts 11.3.2.

Stones and Buildings 11.3.3. Glass 11.4. Conservation Treatment 11.5. Perspectives 11.

6. References Chapter 12 : Glass , Pottery , Enamelled Artefacts 12.1. Introduction 12.2. XO4 vibrations and the Raman Signatures Of Crystalline and glassy Silicates 12.2.1.

Structure and Raman Signature Relationship 12.3. The Different Glass Compositions : A Brief Historical Survey 12.4. Glass Raman Fingerprint and Resonance Raman Effect 12.5. Glass Weathering , Dating and Conservation 12.6.

Mobile Raman Spectroscopy 12.7. Multivariate Analysis 12.8. Recognising Technology Milestones : Tracing the Exchanges and Case Studies 12.8.1. Blue and Green Glass Coloured with Lapis Lazuli 12.

8.2. Yellow and Green Colours 12.8.3. Trade Glass Beads 12.9 References Chapter 13 : Archaeology of Biomaterials : Mummies , Ivories, Resins and Textiles 13.1.

Introduction 13.2. Archaeological Specimens I : Mummies and Skeletal Remains 13.2.1. Mummified Tissues 13.2.1.

1. Tomb of the Two Brothers 13.2.1.2. Otzi, the Alpine Ice-Man 13.2.1.

3. The Qilakitsoq and Chiribaya Ice Mummies 13.2.1.4. The Beni Hassan Cat Mummy 13.2.1.

5. The Antarctic Emperor Penguin Mummy 13.2.2. Human Skeletal Remains 13.2.2.1.

The Anglesey Dark Ages Cist Burial 13.2.2.2. Gristhorpe Man 13.2.2.3.

A Sambaqui Burial and Ochred Bones 13.2.2.4. A Change of Coffin : Analytical Spectral Information from Hair 13.3. Archaeological Specimens II : Functional or Decorative Items 13.3.

1. Ivories 13.3.2. Resins, Gums, Waxes 13.3.2.1.

Ambers and Copals 13.3.2.2. Dragon''s Blood 13.3.2.3.

Frankincense , Myrrh and Pine Resins 13.3.2.4. Contents of Chests from Marine Excavations 13.4. Textiles 13.4.

1. The HMS Victory Sail 13.4.2. Mummy Linens 13.5. Conclusions 13.6.

References Chapter 14 : Raman Spectroscopy and Industrial Archaeology 14.1. Introduction 14.2. The Role of Analytical Chemistry 14.3. Raman Spectroscopy and the Analysis of Industrial Archaeology 14.3.

1. Abandoned Mine of a Previously Indeterminate Purpose 14.3.2. Unexpected Hazards in Mines (St Joachimstahl and St Austell ) 14.3.3. Nantgarw China Works Waste Pit 14.

4. The Use of Portable Raman Spectroscopic Instrumentation 14.5. References Chapter 15 : Raman Spectroscopic Analysis of a Putative Century Oil Painting Depicting William Shakespeare 15.1. Introduction 15.2. Experimental 15.

3. Results of the Raman Spectroscopic Analysis of the Pigments 15.4. Interpretation of the Raman Spectral Data 15.5. Conclusions 15.6. References Chapter 16 : "Noli Me Tangere" : A renaissance Original ? A Holistic Analytical Spectroscopic Challenge.

16.1. Introduction 16.2. Compositional Study of the Works of Art on a "Noli Me Tangere" Theme 16.2.1. Historical Basis of the Artworks 16.

2.2. The Nine Works of Art Comprising this Comparative Study 16.2.3. compositional Details Under Consideration 16.3. Results and Conclusions 16.

4. References Chapter 17 : A Case Study. Raman Spectroscopic Analysis Of Welsh Porcelains 17.1. Introduction 17.2. Experimental 17.2.

1. Specimens 17.2.2. Spectroscopic Instrumentation 17.2.3. Previous Analytical Work 17.

3 . Results and Discussion 17.3.1. Nantgarw and Swansea Porcelains : Statements for Verification 17.3.2. Porcelain Body Chemistry in the Kiln 17.

3.3. Nantgarw 200 Porcelain 17.3.4. Raman Spectroscopic Results 17.3.4.

1. Summary of Analytical Results on Nantgarw Porcelain Porcelains 17.4. References Chapter 18 : Case Study : In-Field and On-Site Raman Spectroscopic Analysis 18.1. Why On-Site Analysis? 18.2. Instrumental Requirements and On-Site Procedures 18.

3. The Role of Optics 18.4. Stand-Off Raman Spectroscopy 18.5. Protection from Ambient Light 18.6. Examples and Perspectives 18.

7. References Chapter 19: Case Study : Non-Invasively Documenting the Transfer of Enamelling Technology form Europe to China and Japan. The role of the Jesuits in the 17th Century 19.1. The Quest for Chinese Porcelain 19.2. The Response of European Potters 19.3.

The European and Chinese Technologies of Enamelling 19.4. The Jesuit Missions in Japan and China 19.5. The Contribution of Raman Microscopy 19.6. Raman Identification of European Recipes /Ingredients In Chinese Cloisonees and Painted Enamel Wares 19.7.

Application to Chinese Productions 19.8. Conclusions and Perspectives 19.9. References Chapter 20: Case Study : The Shroud of Turin - Iconic Relic or Fake ? The Role of Raman spectroscopic Analysis in its Forensic Appraisal 20.1. Introduction 20.2.

The Early Scientific Evidence Relating to the Turin Shroud 20.3. Recent Scientific Studies of the Turin Shroud Materials 20.4. Raman Spectroscopy and the Shroud of Turin 20.5. References Chapter 21: Case Study : A Unique Rockingham English Porcelain Table . A Holistic Forensic Analysis.

21.1. The Rockingham Porcelain Manufactory 21.2. Analyses of Rockingham Porcelain 21.3. Raman Spectroscopic Analysis of the Porcelain Table Top 21.3.

1. Background History of Wentworth Castle 21.4. Conclusions 21.5. References Chapter 22: A Little Knowledge is Dangerous Thing. A Miscellany of Faux-Pas in the Cultural Heritage Of Literature 22.1.

Preface 22.2. Introduction 22.3. Classical Literature in Cultural Heritage 22.3.1. Wilkie Collins - Armadale 22.

3.1.1. Literary Background 22.3.2. Charles Dickens - A Tale of Two Cities 22.3.

3. Ross King - Ex-Libris 22.3.4. Anthony Horowitz - The house of Silk . The New Sherlock Holmes Novel. 22.3.

5. Agatha Christi.