1. Laser-induced breakdown spectroscopy (LIBS)- application in archaeology and art

2. Experimental set-up for LIBS analysis λ = 1064 nm E= 5-10 mJ t= 5 ns Repetition rate – 10 Hz

4. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

5. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

6. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

7. Crater, formed after laser ablation crater

8. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

9. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

10. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

11. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

13. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

14. Qualitative analysis

15. Quantitative analysis Calibration curve for quantitative analysis of the bronze samples SampleSn, %w/wCu, %w/w Sample 617.5±1.682.5 Sample 1123.1±1.676.9 Sample 127.2±0.792.8 Sample 1314.8±1.085.2 Sample 1413.0±1.487 Sample 1519.8±2.080.2

16. Why LIBS in cultural heritage? straightforward and simple analytical technique; very rapid technique, giving results within seconds; minimally destructive; sample preparation is minimized; ability to analyze solid, liquid or gaseous samples, including metals, ceramics, marble, stone, glass, pigments, biomaterials; no limitation for the size of the samples; ability to depth profile of the sample; ability to provide both qualitative and quantitative multi-elemental analysis; possibility of using the technique in situ.

17. Possibility of using the technique in situ