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The following HTML text is provided to enhance online readability. Many aspects of typography translate only awkwardly to HTML. Please use the page image as the authoritative form to ensure accuracy. REFERENCESBrommelle, N. 1956. Studies in Conservation 2:176-187. Caley, E. R. 1951. Journal of Chemical Education 28:64-66. Hauser, A. 1985. The Philosophy of Art History. Evanston, Ill.: Northwestern University Press. English version of Philosophie der Kunstgeschichte, Oscar Beck, Munich, 1958, pp. 216, 232-234. Margolis, J. 1980. Art and Philosophy: Conceptual Issues in Aesthetics. Brighton, Sussex: Harvester Press. Miller, B. F. 1998. In Painting Techniques. History, Materials and Studio Practice. Contributions to the Dublin Congress 7-11 September 1998, eds. A. Roy and P. Smith, pp. 246-248. London: International Institute for Conservation of Historic and Artistic Works. Nadolny, J. 2003. Reviews in Conservation 4:39-51. Olin, J. S., ed. 1982. Future Directions in Archaeometry. A Round Table. Washington, D.C.: Smithsonian Institution. Phillips, Q. E. 2000. The Practices of Painting in Japan, 1475-1500. Stanford, Calif.: Stanford University Press. Plenderleith, H. J. 1998. Studies in Conservation 43:129-143. Rees-Jones, S. 1990. Studies in Conservation 35:93-101. Shimizu, Y. 1981. Archives of Asian Art 34:20-47. Tennent, N. 1997. In British Museum Occasional Papers, 116: The Interface between Science and Conservation, ed. S. Bradley, pp. 15-23. London: The British Museum. Watkins, S. C. 1997. In British Museum Occasional Papers, 116: The Interface between Science and Conservation, ed. S. Bradley, pp. 221-226. London: The British Museum. Ziman, J. 1987. Knowing Everything about Nothing. Specialization and Change in Scientific Careers. Cambridge: Cambridge University Press.
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