Raman spectroscopy in art and archaeology

Abstract

This paper gives a short overview of the Special Issue on Raman Spectroscopy in Art and Archaeology, with the papers collected after the ‘3rd International Conference on the Application of Raman Spectroscopy in Art and Archaeology’ held at the University Pierre et Marie Curie‐Paris 6, Paris, France, from 31 August to 3 September, 2005. The contributions present an extended view of the work in the field, from technical developments and special analytical procedures to various applications. Copyright © 2006 John Wiley & Sons, Ltd.

Vibrational spectroscopy for the study of Chilean cultural heritage

“…Moreover yellow pigment such as natrojarosite, has only been reported in the cave paintings of Inca Cave 4 site in the region of Jujuy, Argentina [24], and in other sites in Argentinean Patagonia [25]. Jarosites are a large family of minerals that have a general formula M n (Fe 3+ ) 6 (SO 4 ) 4 (OH) 12 , where M can be K + , (NH 4 ) + , Na + , Ag + or Pb 2+ and n = 2 for monovalent cations and 1 for the divalent cations [26]. The mineralogical characteristics and chemical properties of the jarosites have been widely studied [26][27][28][29][30].…”

“…Raman spectroscopy is a powerful technique for the analysis of different kinds of materials, showing advantages related to the specificity, sensitivity, reproducibility, applicability, mobility and resolution (spatial and spectral) [5]; moreover, it is a non-invasive and non-destructive technique by itself. These advantages, coupled with recent developments in instrumentation and techniques, particularly the surface enhanced Raman spectroscopy (SERS), have made it possible to extend its use in archaeometry and conservation [5][6][7][8][9][10][11]. Raman spectroscopy allowed identifying pigments and dyes used in the preparation of manuscripts, paintings, ceramics and textiles [12][13][14][15][16][17].…”

Raman Spectroscopy and X-Ray Fluorescence in Molecular Analysis of Yellow Blocks From the Archeological Site Playa Miller 7 (Northern Chile)

“…The greatest potential of Raman relates to their specificity, sensitivity, reproducibility, applicability in-situ, spatial and spectral resolution 5 , besides being a non-invasive and non-destructive technique. These advantages, coupled with recent developments in Raman instrumentation, have made it possible to extend the use of this technique to the conservation and archaeology [5][6][7][8][9][10][11] . Among others, the use of Raman allowed characterizing pigments and dyes used in the preparation of manuscripts, paintings, ceramics and textiles [12][13][14][15][16][17] .…”

Raman spectroscopy in art and archaeology

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Paris (2005) [3] and Modena (2007). [4] The scientific programme included all applications and studies performed with Raman spectroscopy on Cultural Heritage and related materials.

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