| Foreword |
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v | |
| Acknowledgements |
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vii | |
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The painter's workshop as seen by Stradanus |
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1 | (8) |
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Back to basics: what do we do with art technological sources once we have found them? |
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9 | (6) |
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Back to the text: artists' recipe books as historical sources for research into art technology |
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15 | (7) |
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Artists' treatises and recipe books: a discussion of authors, readers and users |
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22 | (4) |
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Light-sensitive pigments discussed in early sources on photochemical imaging processes |
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26 | (8) |
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Eilido colours: sources relating to the introduction of coal-tar colours and their controversial reception in the early 20th century |
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34 | (9) |
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Making paint in the 20th century: the Talens Archive |
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43 | (8) |
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Recipes for deceit: documentary sources for the production of paintings forgeries from 1300 to 1900 |
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51 | (14) |
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What's wrong with Thompson's Cennini? |
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65 | (5) |
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Compendium de coloribus collectum: a compendium of recipes in Palatine Ms. 981 of the Biblioteca Nazionale in Florence |
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70 | (4) |
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Pictoria, sculptoria et quae subaltenarum artium: is the de Mayerne manuscript unified or heterogeneous? |
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74 | (5) |
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Breaking the mould: a history of sand mould casting in Western Europe based on early written sources |
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79 | (9) |
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Interpreting lac dye in medieval written sources: new knowledge from the reconstruction of recipes relating to illuminations in Portuguese manuscripts |
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88 | (12) |
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`To keep the colours fresh, alive and bright': the influence of preparatory layers on the durability of oil painting, according to North West European recipe books 1550--1900 |
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100 | (7) |
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The Jesuit contribution to written art technological sources in the 17th and 18th centuries |
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107 | (8) |
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Liotard, Stoupan and the colours available to 18th-century European artists |
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115 | (9) |
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Forming or transformation: the technology of horn working in sources, in practice and compared to objects |
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124 | (9) |
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Shorter papers from poster presentations |
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Unpublished 17th-century documents relevant to the production of artists' pigments |
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133 | (5) |
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De vitri coloribus: a treatise on glass or pottery working and colouring |
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138 | (1) |
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Documentation of European recipes for glue lining paste |
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139 | (2) |
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Zinc vitriol in late medieval oil painting: a preliminary study using reconstructions |
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141 | (2) |
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From collaboration to competition: the introduction of Heinrich Ludwig's petroleum oil paints |
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143 | (2) |
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The use of documentary sources for identifying suppliers of painting materials in 19th-century Portugal |
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145 | (2) |
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Reconsidering the use of copper resinate, from painting on canvas and panel to painting on glass and metal |
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147 | (2) |
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Winsor & Newton's 19th-century manufacture of yellow chromate-based pigments |
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149 | (2) |
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Painting techniques of Jean Cousin the Elder and Younger in the light of a French manuscript |
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151 | (2) |
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Soehnee Freres retouching varnish and American painters |
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153 | (3) |
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The trade in chalk as an artists' material in early modern Europe |
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156 | (2) |
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Marieken van den Bichelaer |
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The Royal Danish Colour Chamber and the 17th-century trade in artists' materials |
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158 | (2) |
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(Re)constructed harmony: the replication of a Renaissance viol aided by historical sources |
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160 | (2) |
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162 | |
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