1
Khan Academy, Khan Academy Notes on Chemistry, https://www.khanacademy.org/science/chemistry.
2
W. D. Kingery, in Learning from things: method and theory of material culture studies, ed. W. D. Kingery, Smithsonian Institution Press, Washington, D.C., 1996, pp. 175–180.
3
W. D. Kingery, in Learning from things: method and theory of material culture studies, ed. W. D. Kingery, Smithsonian Institution Press, Washington, D.C., 1996, pp. 181–203.
4
Royal Society of Chemistry, Periodic Table – Royal Society of Chemistry, http://www.rsc.org/periodic-table.
5
R. Cotterill, in The Cambridge guide to the material world, Cambridge University Press, Cambridge, 1985, pp. 99–118.
6
H. Hodges, in Artifacts: an introduction to early materials and technology, Baker, London, 1989, pp. 166–172.
7
H. Hodges, in Artifacts: an introduction to early materials and technology, Baker, London, 1989, pp. 175–187.
8
W. D. Kingery, in Learning from things: method and theory of material culture studies, Smithsonian Institution Press, Washington, D.C., 1996, pp. 175–180.
9
W. D. Kingery, in Learning from things: method and theory of material culture studies, Smithsonian Institution Press, Washington, D.C., 1996, pp. 181–203.
10
A. Bailão and S. Šustic, E conservation journal, 2013, 45–60.
11
T. B. Brill, Light: its interaction with art and antiquities, Plenum Press, New York, 1980.
12
A. Cosentino, Heritage Science, DOI:10.1186/2050-7445-2-8.
13
K. Costello, Experiment #7: light as a tool spectroscope, http://www.chemistryland.com/CHM107Lab/Exp7/Spectroscope/Spectroscope.html.
14
G. Feinberg, Scientific American, 1968, 219, 50–75.
15
R. G. Kuehni, Color: An Introduction to Practice and Principles, John Wiley & Sons, Inc., New York, 2nd edn., 1997.
16
K. Nassau, The physics and chemistry of color: the fifteen causes of color, Wiley, New York, 2nd ed., 2001, vol. Wiley series in pure and applied optics.
17
T. U. of S. School of Chemistry, Colour and light, https://scilearn.sydney.edu.au/fychemistry/calculators/colour_wheel.shtml.
18
G. Osmond, 10th Triennial Meeting, Washington, DC, USA, 22-27 August 1993: preprints.
19
E. Bemiss, The Dyer’s Companion in two parts, Cady & Fells, London, 1806.
21
C. D. Cennini, Il Libro dell’Arte, Dover Publications, New York, 1933.
22
M. Douma and J. Lipscher, Pigments through the Ages - detailed pigment histories, recipes, http://www.webexhibits.org/pigments/.
23
R. D. Harley, Artists’ pigments c. 1600-1835: a study in English documentary sources, Archetype Publications, London, 2nd. rev. ed., 2001.
24
E. Mikropoulou, E. Tsatsaroni and E. A. Varella, Journal of Cultural Heritage, 2009, 10, 447–457.
25
H. Price, The Chemistry of Dyes, http://www.chm.bris.ac.uk/webprojects2002/price/first%20page.htm.
26
B. Z. Shakhashiri, Chemical of the Week -- Fireworks!, http://scifun.chem.wisc.edu/chemweek/fireworks/fireworks.htm.
27
D. V. Thompson, The materials and techniques of medieval painting, Dover Publications, New York, 1956, vol. Dover books on art.
28
B. H. Berrie, Artists’ pigments: a handbook of their history and characteristics, Volume 4, National Gallery of Art, Washington, 2007.
29
N. Eastaugh, V. Walsh, T. Chaplin and R. Siddall, The pigment compendium: a dictionary and optical microscopy of historical pigments, Elsevier Butterworth-Heinemann, Amsterdam/London, 2004.
30
R. L. Feller, Artists’ pigments: a handbook of their history and characteristics, Volume 1, National Gallery of Art, Washington, 1986.
31
E. W. FitzHugh, Artists’ pigments: a handbook of their history and characteristics, Volume 3, National Gallery of Art, Washington, 1997.
32
J. H. Hofenk de Graaff, The colourful past: origins, chemistry and identification of natural dyestuffs, Abegg-Stiftung, Riggisberg, Switzerland, 2004.
33
Association of Researchers into Dyes in History and Archaeology, .
34
W. F. Leggett, Ancient and medieval dyes: William F. Leggett, Coachwhip Publications, Landisville, Penn, 2009.
35
A. Roy, Artists’ pigments: a handbook of their history and characteristics, Volume 2, National Gallery of Art, Washington, 1993.
36
Analytical and Bioanalytical Chemistry.
37
J. E. Boyd, Silver and Sunlight: The Science of Early Photography | Chemical Heritage Foundation, http://www.chemheritage.org/discover/media/magazine/articles/28-2-silver-and-sunlight.aspx.
39
George Eastman House, 2011.
40
D. H. Norris and J. J. Gutierrez, Issues in the conservation of photographs, Getty Conservation Institute, Los Angeles, 2010, vol. Readings in conservation.
41
B. Lavédrine, J.-P. Gandolfo, J. McElhone, S. Monod, and Getty Conservation Institute, Photographs of the past: process and preservation, Getty Conservation Institute, Los Angeles, Calif, 2009.
42
D. Stulik and A. Kaplan, The Atlas of Analytical Signatures of Photographic Processes, 2013.
43
The Getty Museum, 2012.
44
M. Ware, Science Museum (Great Britain), and National Museum of Photography, Film, and Television (Great Britain), Cyanotype: the history, science and art of photographic printing in Prussian blue, Science Museum, London, 1999.
45
M. Ware, Topics in Photographic Preservation.
46
K. Freifield, Arts, Crafts and Theater Safety (ACTS).
47
C. Gervais, M. A. Languille, S. Reguer, M. Gillet, S. Pelletier, C. Garnier, E. P. Vicenzi and L. Bertrandb, Why does Prussian blue fade? Understanding the role(s) of the substrate, http://pubs.rsc.org.libproxy.ucl.ac.uk/en/content/articlepdf/2013/ja/c3ja50025j.
48
W. D. Kingery and P. B. Vandiver, Ceramic masterpieces: art, structure, and technology, Free Press, New York, 1986.
49
S. P. Koob and Corning Museum of Glass, Conservation and care of glass objects, Archetype in association with the Corning Museum of Glass, London, 2006.
50
R. G. Newton and S. Davison, Conservation of glass, Butterworth-Heinemann, London, Rev. ed., 1996, vol. Butterworths series in conservation and museology.
51
C. W. Parmelee and C. G. Harman, Ceramic glazes, Cahners Books, Boston, 3d ed., completely rev. and enl., 1973.
52
O. S. Rye, Pottery technology: principles and reconstruction, Taraxacum, Washington, D.C., 1981, vol. Manuals on archeology.
53
A. O. Shepard, Ceramics for the Archaeologist, Carnegie Institute of Washington, Washington, D.C., 1980.
54
J. G. Hawthorne, C. S. Smith, and Theophilus, On divers arts: the foremost medieval treatise on painting, glassmaking and metalwork, Dover, New York, 1979.
55
S. Van Keuren, H. Neff and M. R. Agostini, Journal of Anthropological Archaeology, 2013, 32, 675–690.
56
A. Frood, Riddle of ‘Baghdad’s batteries’, http://news.bbc.co.uk/1/hi/sci/tech/2804257.stm.
57
T. Drayman Weisser and American Institute for Conservation of Historic and Artistic Works, Gilded metals: history, technology and conservation, Archetype Publications in association with The American Institute for Conservation of Historic and Artistic Works, London, 2000.
58
R. J. Gettens, in Art and technology: a symposium on classical bronzes, Published for the Fogg Art Museum, Harvard University and the Dept. of Humanities, M.I.T. by M.I.T. Press, Cambridge, 1970, pp. 57–72.
59
C. C. Mattusch, B. Barr-Sharrar, Arthur M. Sackler Museum, Toledo Museum of Art, and Tampa Museum of Art, The fire of Hephaistos: large classical bronzes from North American collections, Harvard University Art Museums, Cambridge, Mass, 1996.
60
H. Maryon, Metalwork and enamelling: a practial treatise on gold and silversmiths’ work and their allied crafts, Chapman & Hall, London, 4th ed. rev., 1959.
61
D. A. Scott and Getty Conservation Institute, Copper and bronze in art: corrosion, colorants, conservation, Getty Conservation Institute, Los Angeles, 2002.
62
D. A. Scott and G. Eggert, Iron and steel in art: corrosion, colorants, conservation, Archetype, London, 2009.
63
D. A. Scott, J. Podany and B. B. Considine, Eds, Ancient & Historic Metals: Conservation and Scientific Research. Proceedings of a Symposium on Ancient and Historic Metals organised by the J. Paul Getty Museum and the Getty Conservation Institute, Getty Conservation Institute, Marina del Rey, CA, 1994.
64
L. Selwyn and Canadian Conservation Institute, Metals and corrosion: a handbook for the conservation professional, Canadian Conservation Institute, Ottawa, 2004.
65
University of California Davis, Metallurgy - UC Davis Chemwiki, http://chemwiki.ucdavis.edu/Inorganic_Chemistry/Descriptive_Chemistry/d-Block_Elements/Metallurgy.
66
R. S. Boynton, Chemistry and technology of lime and limestone, Wiley, New York, 2nd ed., 1980.
67
S. Cather, Ed., The Conservation of Wall Paintings (Getty Publications), S. Cather, 1991, The Paul J. Getty Trust, Los Angeles.
68
P. H. Dal and W. J. H. Berden, in Science of ceramics: proceedings of the second conference held under the auspices of the British Ceramic Society and the Nederlandse Keramische Vereniging, at Noordwijk aan Zee, 13-17 May 1963, Academic Pr, London, 1965, pp. 95–108.
69
P. Gibbons, S. Newsom, E. Whitfield, and Historic Scotland, Care and conservation of 17th century plasterwork in Scotland, Historic Scotland, Edinburgh, 2004, vol. Technical advice note.
70
I. Kakoulli, in Roman wall painting: materials, techniques, analysis and conservation : proceedings of the International Workshop, Fribourg 7-9 March 1996, Institute of Minerology and Petrography, Fribourg, 1997, pp. 131–141.
71
University of California Davis, The pH Scale - UC DavisChemwiki, http://chemwiki.ucdavis.edu/Physical_Chemistry/Acids_and_Bases/Aqueous_Solutions/The_pH_Scale#Self-Ionization_of_Water.
72
L. S. G. Byne, in Historical perspectives on preventive conservation, Getty Conservation Institute, Los Angeles, 2013, vol. Readings in conservation.
73
N. S. Allen, M. Edge, C. V. Horie, Manchester Polytechnic, Manchester Museum (University of Manchester), and Royal Society of Chemistry (Great Britain), Polymers in conservation, Royal Society of Chemistry, Cambridge, 1992, vol. Special publication / Royal Society of Chemistry.
74
R. J. Gettens and G. L. Stout, Painting materials: a short encyclopaedia, Dover Publications, New York, 1966.
75
C. V. Horie, Materials for conservation: organic consolidants, adhesives and coatings, Butterworth-Heinemann, Amsterdam, 2nd ed., 2010.
76
John Mills and Raymond White, Organic Chemistry of Museum Objects, Taylor & Francis eBooks.
77
Museums and Galleries Commission, Adhesives and coatings, Conservation Unit of the Museums & Galleries Commission in conjunction with Routledge, London, 1992, vol. Science for conservators.
78
Y. Shashoua, Conservation of plastics: materials science, degradation and preservation, Butterworth-Heinemann, Amsterdam, 2008.
79
L. A. Horelick, K. McHugh and O. Madden, in Adhesives and Consolidants for Conservation: Research and Applications. Symposium 2011, Canadian Conservation Institute, Ottawa, 2011, pp. 1–18.
80
Floor Plans | Natural History Museum, http://www.nhm.ac.uk/visit-us/galleries/floorplans/index.html.
81
A. Barański, D. Dutka, R. Dziembaj, A. Konieczna-Molenda and J. M. Łagan, Restaurator, 2004, 25, 68–74.
82
L. A. Bell and M. Morse, Plant fibers for papermaking, Liliaceae, McMinnville, Or, 2nd rev. ed., 1981.
83
P. Dacus Hamm, in Papers presented at the April 1992 conference, Manchester, Institute of Paper Conservation, Worcester, 1992, pp. 30–35.
84
D. Hunter, Papermaking: the history and technique of an ancient craft, Dover, New York, 1978.
85
M. Manso and M. L. Carvalho, Spectrochimica Acta Part B: Atomic Spectroscopy, 2009, 64, 482–490.
86
T. Tsien-Hsuin, in Science and civilisation in China: Volume 5: Chemistry and chemical technology, Cambridge University Press, London, 1974.
87
C. S. Tumosa, D. Erhardt, K. Hufford and E. Quasney, WAAC Newsletter, 2008, 30, 21–24.
88
J. Bogaard, H. R. Morris and P. M. Whitmore, Journal of the American Institute for Conservation, 2005, 44, 63–74.