1 Introduction: Experts in the Interbellum

Part 1 Science, Authentication and Issues of Conservation 

2 "We Cannot Splash Light onto Our Palettes": The 1893 Munich Exhibition and Congress and Its Public Demand for Research on Painting Materials and Techniques

3 A. P. Laurie and the Scientific Appreciation of Art

4 Seeing Through the (Old) Masters: The Crisis of Connoisseurship and the Emergence of Radiographic Art Expertise  

5 Rome 1930, the International Conference on the Scientific Analysis of Artworks and Its Legacy in Italy

Part 2 Education and Professionalisation 

6 Mending, Sticking, and Repairing: Reconstructing Conservation Expertise in Archaeology in the Nineteenth and Twentieth Centuries

7 Wissenschaft, Vocation, or Bildung?: Debating the Sites and Aims of German Art History at the End of the Nineteenth Century

8 Education in the Art and Conservation Field in German Countries

9 Experiments in a Teaching Museum: The Fogg’s "Laboratory for Art"

Part 3 Museums and Institutions 

10 Omnium Gatherum to a ‘Treasury of Art and Science’: The Development of Conservation Expertise at the Ashmolean Museum

11 The (In)visibility of the Paintings Restorers of the Rijksmuseum in the First Half of the Twentieth Century

12 Gemäldekunde. German Pioneers of the ‘Science of Painting’ 

13 Invention as Necessity: The Salvage of Italian Frescoes During World War II

14 Expertise, Multiple Actors, and Multiple Voices