Historical Painting Techniques, Materials, and Studio Practice

19. Merrifield, op. cit., 745-6.
20. Merrifield, op. cit., ccxxi-ccxxiii.
21. Merrifield, op. cit.
22. Linton, op cit., 64.
23. Toch, M. 1911. Materials fo r Permanent Painting. Constable & Co., 169.
24. The paint box (W65-1920) also contained Krapplack, Pariser blau, verdigris,
Neapelgelb, Prussian blue, beirnschwarz, lichter ocker, smalt blau, kernschwarz,
Cremserweiss, chrome yellow, Indian red, and two red ochres and a yellow ochre
(with no labels).
25. Grissom, C. A. 1986. Green earth. In Artists' Pigments. Ed. R. L. Feller. Washington:
National Gallery of Art, 141-67.
26. Cove, S. 1991. Constable's oil painting materials and techniques. In Constable. L.
Parris and 1. Fleming-Williams. London: Tate Gallery, 493-5 18.
27. I am grateful to Sarah Cove (Constable Research Project) for drawing my attention
to four fu rther references to burnt green earth and Verona brown in the
latter half of the nineteenth century, unfortunately too late to include them in
this paper.
28. Darrah,]. A., Victoria & Albert Museum Conservation Department Reports:].
F. Millet, The Wood Sawyers, ca. 1850 (CAl 47);]. F. Millet, The Well at Cruchy,
1854 (CAl 49);]. F. Millet, Landscape with Terminal Figure, ca. 1864 (CAl 172);
and P. de Wint, A Woody Landscape, 1812-1816 (261-1872).
29. Merrifield, op. cit., ccxxi-ccxxiii.
30. Singh, R. N. Ancient Indian Class. Delhi: Parimal Publications, 53, 169-71.
31. Vose, R. H. 1980. Class. Collins Archaeology, 30.
32. Muhlethaler, B., and ]. Thissen. 1969. Smalt. Studies in Conservation (14) :47-61.
33. Gettens, R.]., and G. L. Stout. 1958. A Monument of Byzantine wall painting:
The method of construction. Studies in Conservation (3):107-18.
34. Frank, S. 1982. Class and Archaeology. Academic Press, 23.
35. Medley, M. 1976. The Chinese Potter: A Practical History of Chinese Ceramics. Phaidon
Press, 176-78.
36. Lazzarini, L. 1982. The discovery of Egyptian blue in a Roman fresco of the
medieval period (A.D. ninth century) . Studies in Conservation (27):84-86.
37. Merrifield, op. cit., ccvii.
38. Grissom, op. cit.
39. Gettens, R.]., and G. L. Stout. 1966. Painting Materials. New York: Dover, 157-
59.
40. Kuhn, H. 1973. Terminal dates for paintings derived from pigment analysis. In
Application of Science in the Examination of Works of Art. Seminar proceedings.
Boston, 199-205.
41. Frank, op. cit.
42. I should like to thank V. Sharma, visiting Nehru Fellow of the Shirnla Museum,
India, for bringing these paintings to my attention.
43. Archer, W G. 1973. Indian Paintings of the Punjab Hills. Vol. 1. London, 16, 21.
44. Darrah, 1992, op. cit.
45. Turner, op. cit.
46. I am grateful to A. Burnstock, Conservation and Technology Department, Courtauld
Institute of Art, London University, for allowing me to use the results of
her analysis of St. John of Patmos (CIA 302).
Darrah 77