A list of secondary reference material based on research by 'Smeets / The Netherlands'.

ADROSKO, Rita J. Natural Dyes and Home Dyeing. New York: Dover 1971, 154 pp. (is an unabridged and corrected republication originally published in 1968 as United States National Bulletin 281 under the title Natural Dyes in the United States.)

ALBERS, Josef Interaction of Color. Grundlegung einer Didaktik des Sehens. Köln: Du Mont 1970, 121 pp.

ALBERTI, Leon Battista On Painting. [Trsl.] John R.Spencer. Revised edition. New Haven / London: Yale University Press 1966, 141 pp. (1st ed.: 1956).

ALEXANDER, Jonathan J.G. Medieval Illuminators and Their Methods of Work. New Haven / London: Yale University Press 1992, vii-214 pp.

American Optical Company Pseudo-Isochromatic plates for testing color perception. Philadelphia / New York: American Optical Company 1940.

ANDERSEN, Kirsti The Geometry of an Art: The History of the Mathematical Theory of Perspective from Alberti to Monge. Springer 2007, xxxvii-812 pp. (Sources and Studies in the History of Mathematics and Physical Sciences)

ARISTIDES Juliette Classical Drawing Atelier. A Contemporary Guide to Traditional Studio Practice. New York: Watson-Guptill 2006, 144 pp.

AYMONINO, Adriano & Anne Varick Lauder Drawn from the Antique: Artists & the Classical Ideal. London: Sir John Soane’s Museum 2015, 256 pp. [catalogus Teylers Museum & Soane’s Museum]

BARASCH, Moshe Light and color in the Italian Renaissance theory of art. New York: New York University Press 1978, XIX-232 pp.

BARNES, Carl F. The Portfolio of Villard de Honnecourt (Paris, Bibliothèque nationale de France, MS Fr 19093). A new critical edition and color facsimile. With a glossary by Stacey L.Hahn. Farnham: Ashgate 2009, xxvi-266 pp, 71 plates.

BATY, Patrick The Anatomy of Colour: The story of heritage paints and pigments. London: Thames & Hudson 2017, 351 pp.

BAXANDALL, Michael Shadows and Enlightenment. New Haven & London: Yale University Press 1997, XII-192 pp. ~ ~ Words for pictures: Seven Papers on Renaissance Art and Criticism. New Haven & London: Yale University Press 2003, XI-169 pp.

Bell Gallery / List Art Center Children of Mercury. The Education of Artists in the Sixteenth and Seventeenth Centuries. Providence: Department of Art, Brown University 1984, 144 pp. [Content:] First Draft Artistry: Children’s Drawings in the Sixteenth and Seventeenth Centuries (Laurie Rubin); Ideal and Reality of the Learned Artist: The Schooling of Italian and Netherlandish Artists (Evonne Levy); The Education of the Painter in the Workshop (Gabriele Bleeke-Byrne); Learning Processes: The Workshop Education of the sculptor (Anne E.Dawson); Learning through Imitation: Some Examples (Patricia Lynn Price); The Education of the Sculptor Outside the Workshop and Academy (Victoria Potts); Imagination into Image: On Visual Literay (J.Duncan Berry); Academic Ideals of Art Education (Cynthia E.Roman); Academic Practice in the Sixteenth and Seventeenth Centuries (Laura Olmstead Tonelli); Seventeenth-Century Italian Drawing Books: Their Origin and Development (Chittima Amornpichetkul); Artists’ Professional Handbooks from Sixteenth and Seventeenth Centuries (Mary Braun-Anderson).

BENNETT, T.J.A. Aspects of English Colour Collocations and Idioms. Heidelberg: Carl Winter 1988, 301 pp. (Anglistische Forschungen 197)

BERLIN, Brent & Paul Kay Basic Color Terms. Their Universality and Evolution. Berkeley: University of California Press 1969, XI-178 pp.

BERMINGHAM, Ann Learning to Draw: Studies in the Cultural History of a Polite and Useful Art. New Haven & London: Yale University Press 2000, XV-304 pp.

BICKNELL, Peter and Jane Munro Gilpin to Ruskin. Drawing masters and their Manuals, 1800 – 1860. Cambridge: Fitzwilliam Museum 1988. 138 pp. [Cat.]

BIGGAM, C.P. Sociolinguistic aspects of Old English colour lexemes, Anglo-Saxon England 24 (1995) 51- 65.

BINSKI, Paul Painters. London: 1991, 72 pp. (Medieval Craftsmen).

BIRREN, Faber Color. A survey in words and pictures, from ancient mysticism to modern science. Secaucus NJ: Citadel press 1963, 223 pp. BLAKE, Quentin en John Cassidy Drawing for the Artistically Undiscovered. Palo Alto: Klutz 1999, 103 pp.

BLONDHEIM, D.S. An Old Portuguese Work on Manuscript Illumination. The Jewish Quarterly Review, New Series, XIX (1928/29) 97-135. [copie]

BOMFORD, David The History of Colour in Art, in: T. Lamb & J.Bourriau [eds] Colour: Art & Science. Cambridge: Cambridge University Press 1995, 7-30 pp.

BORRADAILE, Viola & Rosamund Practical Tempera Painting. A Student's 'Cennini'. Brighton: Dolphin Press 1949, XIII-128. (1st published as: A Student's 'Cennini'. 1941) ~ ~ [trsl.] The Strasburg Manuscript. A medieval painter's handbook. Translated from the Old German. London: Alec Tiranti 1966, 116 pp. [tweetalig]

BRISTOW, Ian C. Interior House-painting Colours and Technology 1615-1840, New Haven / London: Yale University Press 1996, XI-276.

British Colour Council Horticultural Colour Chart. (Robert F.Wilson) London: British Colour Council 1938. (in collaboration with the Royal Horticultural Society) [ontbreekt: N?49, 60, 75, 85, 94, 96] ~ ~ The British Colour Council Dictionary of Colours for Interior Decoration. London: British Colour Council 1949. 1 textvol. (XXI-28 pp.). 2 vols. samples.

British Standards Institution British Standard Schedule of Colours for Ready-Mixed Paints. N?381. London: British Standards Institution 1930, 61 pp. [65 kleurmonsters]

BURNS, Thea Compositiones variae: A Late Eighth-century Craftsman’s Technical Treatise reconsidered. London: Archetype 2017 IX-193 pp.

CANEDY, Norman W. The Roman Sketchbook of Girolamo da Carpi. London: The Warburg Institute / Leiden: Brill 1976, XXIV-151 pp. 54 plates. (Studies of the Warburg Institute, Vol.35) [Exlibris Fred Bastet]

CARLYLE, Leslie The Artist’s Assistant. Oil Painting Instruction Manuals and Handbooks in Britain 1800- 1900. With Reference to Selected Eighteenth-century Sources. London: Archetype 2002, xviii-589 pp.

CARNIE, Jamie Blue Sky Thoughts: Colour, Consiousness and Reality. London: Marion Boyars 2007, 271 pp. CARTLIDGE, S.J. How to Use Water-Colors. Wealdstone: Winsor & Newton [n.d.], 43 pp.

CHANEY, Edward Inigo Jones’s ‘Roman Sketchbook’. London: The Roxburghe Club 2006. 2 vols. Facsimile edition in slipcase.

CLARKE, Mark The Art of All Colours: Mediaeval Recipe Books for Painters and Illuminators. London: Archetype 2001, viii-152 pp. ~ ~ Mediaeval Painters’ Materials and Techniques: The Montpellier Liber diversarum arcium. London: Archetype 2011, 352 pp. ~ ~ [Ed.] The Crafte of Lymmyng and the Maner of Steynyng: Middle English Recipes for Painters, Stainers, Scribes, and Illuminators. Oxford: Oxford University Press 2016, cxvii – 454 pp. (The Early English Text Society)

Clayton Aniline Company Direct and Chlorantine Fast Dyestuffs on Cotton Piece. Manchester: [na 1946] 67 pp. [13 + 348 kleurmonsters]

DARRIGOL, Olivier A History of Optics. From Greek Antiquity to the Nineteenth Century. Oxford: Oxford University Press 2012, xii-327 pp.

DONKIN, R.A. Spanish Red, an Ethnogeographical Study of Cochineal and the Opuntia Cactus, Transactions of the American Philosophical Society 67, part 5. Philadelphia: 1977, 84 pp.

EDGERTON, Samuel Y. Alberti's Colour Theory: A medieval bottle without renaissance wine, Journal of the Warburg and Courtauld Institutes XXXII (1969) 109-134. [copie]

EIKEMA HOMMES, Margriet van Painters' Methods to Prevent Colour Changes Described in Sixteenth to Early Eighteenth Century Sources on Oil Painting Techniques, in: E.Hermens, [ed.] Looking through paintings. The study of painting techniques and materials in support of art historical research. Baarn: de Prom 1998, pp. 91-131.

EISEMAN, L. & L.Herbert The Pantone Book of Color. Over 1000 color standards. Color basics and guidelines for design, fashion, furnishings.. and more. New York: Abrams 1990, 160 pp.

ELEN, Albert Jan Italian Late-Medieval and Renaissance Drawing-Books: from Giovannino de'Grassi to Palma Giovane: A Codicological approach. Leiden: A.J.Elen 1995, X-533 pp. [Diss.]

FELLER, Robert L. [ed.] Artists' Pigments. A Handbook of their History and Characteristics. Cambridge: Cambridge University Press 1986, 300 pp. FESSLER KRIEG, M. The Influence of French Color Vocabulary on Middle English, Michigan Academician XI (1978) 431-437. [copie]

FOWLER, Caroline Overton Between the Heart and the Mind: Ways of drawing in the seventeenth century. Princeton 2012, 460 pp. [Dissertation Princeton] ~ ~ Drawing and the Senses: An Early Modern History. Turnhout: Brepols 2016, 178 pp.

FUHRING, Peter Jacob Matham’s Verscheijden cierage: an early seventeenth-century model book of etchings after the antique, in: Simiolus 21 (1992) 57-84.

GAGE, John Colour and Culture. Practice and Meaning from Antiquity to Abstraction. London: Thames & Hudson 1993, 335 pp. ~ ~ Colour and Culture, in: T.Lamb & J.Bourriau [eds] Colour: Art & Science. Cambridge: Cambridge University Press 1995, 175-193 pp. ~ ~ Colour Words in the High Middle Ages, in: E.Hermens, [ed.] Looking through paintings. The study of painting techniques and materials in support of art historical research. Baarn: de Prom 1998, pp. 35-48. ~ ~ Colour and Meaning. Art, Science and Symbolism. London: Thames & Hudson 1999, 320 pp.

GARFIELD, Simon Mauve: How one man invented a colour that changed the world. London: Faber & Faber 2000, 222 pp.

GASS, William On Being Blue. A philosophical inquiry. Boston: Godine 1976, 91 pp.

GETTENS, Rutherford J. & George L.Stout Painting Materials. A short Encyclopaedia. New York: Dover 1966, IX-333. (1st ed. Nostrand 1942)

GOMBRICH, E.H. Shadows. The depiction of cast shadows in western art. London: 1995, 64 pp. ~ ~ Shadows. The depiction of cast shadows in western art. New Haven and London: Yale University Press 2014, xxiii - 66 pp. Foreword: Neil MacGregor; Introduction: . ~ ~ The Image and the Eye. Further studies in the psychology of pictorial representation. Oxford: Phaidon 1982, 320 pp. ~ ~ Art & Illusion: A study in the psychology of pictorial representation. London: Phaidon 1994, 386 pp.

GREIST, Alexandra Avilla Learning to Draw, Drawing to Learn: Theory and Practice in Italian Printed Drawing Books, 1600 – 1700. Ann Arbor: Proquest 2011, XXI- 422 pp. (Dissertation University of Pennsylvania) (POD) ~ ~ A rediscovered text for a drawing book by Odoardo Fialetti, in: The Burlington Magazine 156 (2014) 12-18.

GRIFFITH, F.Ll. & H.Thompson [eds.] The Leyden Papyrus. An Egyptian Magical Book. New York: Dover 1974, vii-205. (Reprint of: The Demotic Magical Papyrus of London and Leiden. London 1904)

GUÉNON, Jules Zie: J.G.

GULLICK, Michael A bibliography of medieval painting treatises. In: L.L.Brownrigg [ed.] Making the medieval book. Techniques of production. Red Gull Press 1995, 241-244 pp.

HALL, Marcia Color and Meaning. Practice and Theory in Renaissance Painting. Cambridge: Cambridge University Press 1994, XIV-274 pp. (First edition 1992).

HARDIN, C.L. Color for Philosophers. Unweaving the Rainbow. Indianapolis: Hackett Publishing Company 1988, xlii-244 pp.

HARLEY, R.D. Artists' Pigments, c.1600-1835. A Study in English Documentary Sources. Second Edition. London: Butterworth 1982, XI-236. (1st ed.1970)

HAWTHORNE, John G. & Cyril S.Smith [ed. & trsl.] Theophilus. On Divers Arts. New York: Dover 1979, xxxv-216. (1st ed.: University of Chicago Press 1963)

HEBBLEWHITE, Ian Artists' Materials. London: Phaidon 1986, 288 pp.

HEDFORS, H. [ed. & trsl.] Compositiones ad Tingenda Musiva. (Codex Lucensis 490). Uppsala: Almqvist & Wiksells 1932, XVIII-226. [copie].

HERMENS, Erma [ed.] Looking through paintings. The study of painting techniques and materials in support of art historical research. Baarn: de Prom 1998, 519 pp. (Leids Kunsthistorisch Jaarboek XI) ~ ~ & Arie Wallert, 'The Pepstok Papers: Lake Pigments, Prisons and Paint-Mills', in: E.Hermens, [ed.] Looking through paintings. The study of painting techniques and materials in support of art historical research. Baarn: de Prom 1998, pp. 269-94.

HETHERINGTON, Paul [trsl.] The 'Painter's Manual' of Dionysius of Fourna. An English translation, with Commentary, of cod.gr.708 in the Saltykov-Shchedrin State Public Library, Leningrad. Revised reprint. London: Sagittarius Press 1981, VII-iii-128. (1st ed. 1974)

HILLIARD, Nicholas Nicholas Hilliard's Art of Limning. A New Edition of A Treatise Concerning the Arte of Limning. Transcription Arthur F.Kinney; commentary and apparatus Linda B.Salamon. Boston: Northeastern University Press 1983, xvii-158.

HOEPPE, Götz Why the Sky is Blue. Discovering the Color of Life. Princeton & Oxford: Princeton University Press 2007, xx-336 pp.

HOUT, Nico van Meaning and Development of the Ground-layer in Seventeenth Century Painting, in: E.Hermens, [ed.] Looking through paintings. The study of painting techniques and materials in support of art historical research. Baarn: de Prom 1998, pp. 199-225.

HSIEH, Chia-Chuan The Emergence and Impact of the ‘Complete Drawing Book’ in Mid-Eighteenth-Century England, in: Journal for Eighteenth-Century Studies Vol.36 No.3 (2013) 395-414. [Pdf]

HUNT, Tony Early Anglo-norman receipts for colours, Journal of the Warburg and Courtauld Institutes 58 (1995) 203-209.

ISHIHARA. Shinobu Tests for Colour-blindness. Eleventh Completely Revised Edition with 38 Plates. London: Lewis & Tokyo: Kanehara Shuppan 1954. [gesigneerd]

IVINS, William M. On the Rationalization of Sight. With an Examination of Three Renaissance Texts on Perspective. Viator: De Artificiali Perspectiva. Reproducing Both the First Edition (Toul, 1505) and the Second Edition (Toul, 1509). New York: Da Capo Press 1973, 44 [116] pp. [Exlibris: Jaap Bolten]

JACOBS, Michel The art of colour. 4th ed. New York: Doubleday 1931, XIV-90. [1st ed. 1923]

JAFFÉ, David ‘Rubens’s lost ‘pocketbook’: some new thoughts’, in: The Burlington Magazine 152 (2010), numb. 1283.

JAFFÉ, Michael Van Dyck’s Antwerp Sketchbook. 2 vols. London: Macdonald 1966, 316 & 290 pp.

JEFFRIES, B. Joy Color-Names, Color-Blindness and the Education of the Color-sense in Our Schools. Boston: Prang & Co. 1882, 11 pp. (Reprint from Education, March 1882) JOHNSON, Hiroko Western Influences on Japanese Art: The Akita Ranga Art School and Foreign Books. Amsterdam: Hotei Publishing 2005, 176 pp.

JOHNSON, Rozelle Parker Notes on some manuscripts of the 'Mappae Clavicula', Speculum X (1935) 72-81. [copie] ~ ~ Some Continental Manuscripts of the Mappae Clavicula, Speculum XII (1937) 84-103. [copie] ~ ~ The Manuscripts of the "Schedula" of Theophilus Presbyter, Speculum 13 (1938) 86- 103. [copie]

KAUFMANN, Thomas Costa Da The Perspective of Shadows: the History of the Theory of Shadow Projection, in: Journal of the Warburg and Courtauld Institutes 38 (1975) 258- 287.

KEMP, Martin The Science of Art. Optical themes in western art from Brunelleschi to Seurat. New Haven / London: Yale University Press 1990, viii-375 pp.

KORNERUP, Andreas & Johan H.Wanscher Farver i Farver. 5. oplag, København: Politikens Forlag 1974, 248 pp. (1e ed.: 1961) ~ ~ Methuen Handbook of Colour. 2nd ed. London: Methuen & Co. 1967, 243 pp. (Oorspr.tit.: Farver i Farver)

KRINSKY C.H. Seventy-eight Vitruvius Manuscripts, Journal of the Warburg and Courtauld Institutes XXX (1967) 36-70. [copie]

KWAKKELSTEIN, Michael Leonardo da Vinci as a physiognomist: Theory and drawing practice. Leiden: Primavera Pers 1994, 168 pp. & 115 ill.

LAMB, Trevor & J.Bourriau [ed.] Colour: Art & Science. Cambridge: Cambridge University Press 1995, 237 pp. (Darwin College Lecture Series).

LAURIE, A.P. The Pigments and Mediums of the Old Masters. With a Special Chapter on the Microphotographic Study of Brushwork. London: Macmillan 1914, XIV-192, 4 pp. ~ ~ The Painter's Methods and Materials. Traditional techniques and materials for practicing artists; oil, watercolor, tempera. New York: Dover 1967, 250 pp.

LEHMANN, Ann-Sophie [e.a.] Lessons in Art: Art, Education, and Modes of Instruction since 1500 (Netherlands Yearbook for History of Art 2018, Volume 68). Leiden / Boston: Brill 2019

LEHMANN-HAUPT, Helmut [ed.] The Göttingen Model Book. A facsimile edition and translations of a 15th c. illuminators' manual. Columbia: Univ.of Missouri Press 1972. LOBIS, Victoria Sancho Artistic Training and Print Culture in the Time of Rubens. Columbia Univ. 2010, XVII- 312 pp. (Diss.) Proquest. ~ ~ Printed Drawing Books and the Dissemination of Ideal Male Anatomy in Northern Europe, in: K.De Clippel[ed.] The Nude and the Norm in the Early Modern Low Countries, Brepols 2011, 51-64. [copie]

LONGAIR, Malcolm Light and Colour, in: T. Lamb & J.Bourriau [eds] Colour: Art & Science. Cambridge: Cambridge University Press 1995, 65-102 pp.

LUKEHART, Peter M. [Ed.] The Artist’s Workshop. Washington: National Gallery of Art 1993, 196 pp. (Studies in the History of Art, 38). Inhoud: Observations on the Trecento and Early Quattrocento Workshop (Mojmír S.Frinta); Delineating the Genoese Studio: Giovani accartati or sotto padre? (Peter M.Lukehart); Practice in the Carracci Academy (Gail Feigenbaum); Japanese Studio Practice: The Tosa Family and the Imperial Painting Office in the Seventeenth Century (John M.Rosenfield); The Making of Manuscripts and the Workings of the Kitab-khana in Safavid Iran (Marianna Shreve Simpson); Carlo Fontana: Pupil, Partner, Principal, Preceptor (Helmut Hager); Victorian Office Practice and Victorian Architecture: The Case of Sir Gilbert Scott (David B.Brownlee); The British Arts and Crafts Workshop between Tradition and Reform (Larry D.Lutchmansingh).

LUKEHART, Peter, The Practice and Pedagogy of Drawing in the Accademia di San Luca, in: Lernt Zeichnen! Techniken zwischen Kunst und Wissenschaft 1525-1925. 2015, 45-57. [copie]

LUTZ, E.G. What to Draw and How to draw it. London: Skeffington & son, Ltd. [ca. 1920], 78 pp. ~ ~ What to Draw and How to draw it. London: O’Mara Books 2015, 78 pp. [facsim. ed., 1913] ~ ~ Drawing made Easy. London: O’Mara Books 2016, 79 pp. [facsim. ed. 1921]

MACTAGGART, Peter & Ann Practical Gilding. Welwyn Herts. (Eng.): Mac & Me 1985, VI-74.

MADHOK, Punam The drawing books of Henry Peacham and Jan de Bisschop and the place of drawing in the education of a Renaissance gentleman. Urbana: University of Illinois 1993, XXXIII - 621 pp. [Diss. ProQuest; zonder Figures 148-508]

MAERZ, A. & M.Rea Paul A Dictionary of Color. 2nd ed. New York: McGraw-Hill 1950, VI-208. (1st ed.1930)

MAES, Gaëtane ~ ~ Between Nature, Anatomy and Art: Crispijn de Passe’s Manual for Drawing Animals, in: Print Quarterly 37 (2020) 267-282. MARCIARI, John Drawing in Tintoretto’s Venice. New York: The Morgan Library 2018, 224 pp.

MARX, Ellen The Contrast of Colors. New York: Van Nostrand Reinhold 1973, 207 pp.

MASSING, Ann French Painting Technique in the Seventeenth and Early Eighteenth Centuries and De la Fontaine's Académie de la Peinture (Paris 1679), in: E.Hermens, [ed.] Looking through paintings. The study of painting techniques and materials in support of art historical research. Baarn: de Prom 1998, pp. 319-90.

MAUND, Barry Colours. Their nature and representation. Cambridge: Cambridge University Press 1995, XV-247 pp. (Cambridge Studies in Philosophy)

MAXWELL-STUART, P.G. Studies in Greek Colour Terminology. Leiden: Brill 1981. Vol.I: Glaukos, (Mnemosyne 65). Vol.II: Xaropos, (Mnemosyne 67).

MAYER, Ralph A Dictionary of Art Terms and Techniques. New York: Barnes 1981, 447 pp. (1st ed.1969) ~ ~ The Artist's Handbook of Materials and Techniques. [ed.] E.Smith, 4th ed. London: Faber & Faber 1982, XV-756. ~ ~ The Artist's Handbook of Materials and Techniques. Revised and expanded by Steven Sheehan. 5th ed. London / Boston: Faber & Faber 1991, XV-761.

MOGILEVTSEV, V.A. Fundamentals of Drawing: Textbook. St.Petersburg: 4art 2016, 72 pp.

MUNSELL, A.H. A Grammar of Color. Arrangements of Strathmore Papers in a variety of printed color combinations according to The Munsell Color System, with an introduction by Professor A.H.Munsell and explanatory text with diagrams illustrating the application of the System to work in the Graphic Arts by T.M.Cleland. Mittineague (Mass.): The Strathmore Paper Company, 1921, 28, [2], 19 sheets. ~ ~ A Grammar of Color. A basic treatise on the color system of Albert H. Munsell. Edited and with an introduction by Faber Birren. New York: Van Nostrand Reinhold Company 1969, 96 pp.

NANOBASHVILI, N. & T.Teutenberg (eds.) Drawing Education: Worldwide! Continuities – Transfers – Mixtures. Heidelberg: University Publishing 2019, 323 pp.

National Bureau of Standards The ISCC-NBS Method of Designating Colors and a Dictionary of Color Names. Washington: U.S. Department of Commerce 1955, V-158. (NBS Circular 553)

NETTO-BOL, M.M.L. The So-called Maarten de Vos Sketchbook of Drawings after the Antique. Den Haag: Government Publishing Office 1976, 116 pp. (Kunsthistorische Studiën van het Nederlands Instituut te Rome; 4)

NEVEN, Sylvie The Strasbourg Manuscript. A Medieval Tradition of Artists’ Recipe Collections (1400 – 1570). London: Archetype 2016, IX-265 pp.

NORDMARK, Olle Fresco Painting. Modern Methods and Techniques for Painting in Fresco and Secco. New York: American Artists Group 1947, 126 pp.

NUNEMAKER, J.Horace Some Mediaeval Spanish Terms of writing and illumination, Speculum V (1930) 420-424. [copie]

OPPÉ, A.P. Alexander & John Robert Cozens. With a reprint of Alexander Cozens’ A New Method of assisting the invention in drawing original Compositions of Landscape. Cambridge: Harvard University Press 1954, xii-196 pp.

ORNA, Mary V. Synthetic blue pigments: 9th to 16th centuries. I.Literature, Studies in Conservation 25 (1980) 53-63.

PANOFSKY, Erwin The Codex Huygens and Leonardo Da Vinci's Art Theory. The Pierpont Morgan Library Codex M.A.1139. London: The Warburg Institute 1940, 138 pp. (Studies of the Warburg Institute, vol.13)

PARK, J.P. Art by the Book: Painting Manuals and the Leisure Life in Late Ming China. Seattle & London: University of Washington Press 2012, 309 pp.

PARKS, Peter Colour in Nature, in: T.Lamb & J.Bourriau [eds] Colour: Art & Science. Cambridge: Cambridge University Press 1995, 151-174 pp.

PARTINGTON, J.R. Chemical arts in the Mount Athos manual of Christian Iconography, Isis XXII (1934-35) 136-149. [copie]

PAVEY, Roy Colour and Humanism: Colour Expression over History. London: Colour Academy 2003, 296 pp. PEDRETTI, Carlo Leonardo da Vinci On Painting. A lost Book (Libro A). Reassembled from the Codex Vaticanus Urbinas 1270 and from the Codex Leicester. Berkeley / Los Angeles: University of California Press 1964, xvi- 301 pp.

PETHERBRIDGE, Deanna The Primacy of Drawing. Histories and Theories of Practice. New Haven & London: Yale University Press 2010, IX – 521 pp.

PETROSKI, Henry The Pencil. A History of Design and Circumstance. London: Faber & Faber 2003, XI-434 pp.

PETZOLD, Andreas Colour notes in English romanesque manuscripts, The British Library Journal 16, 1 (1990) 16-25.

PEY, Ineke The Hafkenscheid Collection, in: E.Hermens, [ed.] Looking through paintings. The study of painting techniques and materials in support of art historical research. Baarn: de Prom 1998, pp. 465-500.

PHILLIPPS, Thomas [ed.] Preparation of Pigments during the Middle Ages. Incipit libellus dictus Mappae Clavicula, Archaeologia XXXII (1847) 183-244.

PICKFORD, R.W. Individual differences in colour vision. London: Routledge and Kegan Paul Ltd 1951, xviii- 386 pp.

PLESTERS, Joyce 2. Ultramarine Blue, Natural and Artificial, Studies in Conservation 11 (1966) 62-91.

PONTING, K.G. A dictionary of dyes and dyeing. London: Bell & Hyman 1981, 207 pp.

PORTER, Cheryl A. You can't tell a pigment by its color. In: L.L.Brownrigg [ed.] Making the medieval book: techniques of production. Red Gull Press 1995, 111-116 pp. [copie]

RAFT, Adam About Theophilus' blue colour, 'Lazur', Studies in Conservation 13 (1968) 1-6.

REMINGTON, J.S. & W.Francis Pigments. Their Manufacture, Properties and Use. 3rd ed. London: L.Hill 1955, XV-222. (1st ed.1946)

RILEY, Bridget Colour for the Painter, in: T.Lamb & J.Bourriau [eds] Colour: Art & Science. Cambridge: Cambridge University Press 1995, 31-64 pp.

RILEY II, Charles A. Color codes. Modern theories of color in philosophy, painting and architecture, literature, music, and psychology. Hanover / London: University Press of New England 1995, XI-351 pp.

ROSAND, David The Crisis of the Venetian Renaissance Tradition, in: L’Arte 11-12 (1970) 5-53. =: L'arte : rivista di storia dell'arte medievale e moderna

ROSSOTTI, Hazel Colour. Why the world isn't grey. Penguin 1983, 239 pp.

RUSSELL, Joanna [eds.] e.a. Northern European Metalpoint Drawings: Technical examination and Analysis. London: Archetype & British Museum 2017, 90 pp.

SACKS, Oliver The Island of the Colorblind, New York / Toronto: Alfred A. Knopf 1997, XV-298 pp. ~ ~ & R.Wasserman, The painter who became colorblind, The New York Review of Books Vol. 34, n?18, November 19 (1987) 25-34. [copie]

SAUNDERS, J.B. de C.M. & Charles D.O'Malley The anatomical Drawings of Andreas Vesalius. With annotations and translations, a discussion of the plates and their background, authorship and influence, and a biographical sketch of Vesalius. Including all the illustrations from De Humani Corporis Fabrica, Epitome, and Tabulae Sex. New York: Bonanza Books 1982, 248, [4] pp.

SCHELLER, Robert W. Exemplum: Model-Book Drawings and the Practice of Artistic Transmission in the Middle Ages (ca. 900 - ca. 1450). Amsterdam: Amsterdam University Press 1995, 434 pp.

SCIOLLA, Gianni Carlo [Ed.] Drawing: Forms, Techniques, Meanings. Texts by A.P.Tofani, S. Properi, V.Rodino. Milaan: 1991, 251 pp.

SELL, Stacey & Hugo Chapman Drawing in Silver and Gold: Leonardo to Jasper Johns. Princeton: Princeton University Press 2015, 313 pp.

SELLINK, Manfred "As a guide to the highest learning:" an Antwerp drawing book dated 1589, in: Simiolus 21 (1992) 40-56.

SEMLER, L.E. Breaking the Ice to Invention: Henry Peacham’s The Art of Drawing (1606), in: Sixteenth Century Journal XXXV (2004) 735–750. SEPPER, Dennis L. Goethe contra Newton. Polemics and the project for a new science of Color. Cambridge: Cambridge U.Press 1988., XVI-222 pp. [Ex Imperial College Physics Library]

SLOAN, Kim ‘A Noble Art’: Amateur Artists and drawing Masters c. 1600-1800. London: Brish Museum Press 2000, 256 pp.

SMITH, C.S. & J.G.Hawthorne [trsl.] Mappae Clavicula. A Little Key to the world of medieval techniques. An annotated translation based on a collation of the Sélestat and Phillipps-Corning manuscripts. Philadelphia: 1974, 128 pp. (Transactions of the American Philosophical Society, New Series, Vol.64, part 4) [copie]

SORENSEN, Roy Seeing Dark Things. The Philosophy of Shadows. Oxford: Oxford University Press 2011, XIII - 310 pp.

Sotheby’s Geometry and Space: The celebrated collection of books on geometry, optics and perspective of M. Arnaud de Vitry. Sale L02308, London, 10 and 11 april 2002, 430 pp. 863 lots.

SPANIER, Ehud [ed.] The Royal Purple and the Biblical Blue. 'Argaman' and 'Tekhelet'. The Study of Chief Rabbi Dr. Isaac Herzog on the Dye Industries in Ancient Israel and Recent Scientific Contributions. Jerusalem: Keter 1987, 220 pp.

SPELMAN, Ken The Artist’s Companion. Three Centuries of Drawing Books and Manuals of Instruction. Ken Spelman, 70 Micklegate, York 1985, 54 pp. (Catalogue Four) ~ ~ Catalogue Seventy Nine. Art, Architecture & Design, July 2014. [print]

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