The Art Institute of Chicago

Binding Beauty: Conserving a Collection of Japanese Printed Books Author(s): Barbara Korbel and Janice Katz Reviewed work(s): Source: Art Institute of Chicago Museum Studies, Vol. 31, No. 2, Conservation at the Art Institute of Chicago (2005), pp. 16-23+105 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4104454 . Accessed: 23/09/2012 07:31
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BINDING BEAUTY:CONSERVING A PRINTEDBOOKS COLLECTIONOF JAPANESE

BARBARA KORBEL, COLLECTIONS CONSERVATOR, RYERSON AND BURNHAM LIBRARIES JANICE KATZ, ASSISTANT CURATOROF JAPANESEART

The inhabitants ofJapan's citieswere largepremodern literate ofprinted consumers illustrated books.' highly limited editions of classic tales Elegant courtly beganto be produced in i6o8andwerethefirst ofa print revsigns olution that reached all levels of eventually society. Bythe lateseventeenth all manner ofpublications had century lists of the most of courtesans appeared, including stylish thepleasure detailed travel dime-store quarters, guides, instruction manunovels, erotica, encyclopedias, drawing als,anddeluxe poetry compilations. ehon comJapanese (picturebooks) are generally ofwoodblock-printed sheets ofkbzopaper.2 Both prised illustrations and text, whichwas carved to mimic callicouldbe cutontothesamewoodblock, graphic writing, which wasprinted inblackinkonly; as full-color printing developed, severalblocks were used foreach page. it is difficult to estimate, editionsprobably Although rangedfromabout threehundredto a fewthousand copies.The blockscouldbe reusedifa book was a suc-

cess, and printrunsof severalthousandwere notunandpagenumbers volume often known. numbers, Titles, of each sheet. A book outer the on might edge appear attheend anda colophon atthebeginning havea preface or theownerof thewoodblocks thepublisher listing anda date.An interofthecopyright) (akinto theholder is theinclusion books of of feature many printed esting forforthcoming ofadvertisements several sheets publicaa view tions.Asidefrom providing fascinating intothe these additions canhelpdatea book business, publisher's ofwhenit carries no indication evenwhenthepieceitself was made. to be a publisher in It couldbe extremely profitable and thecitiesof Edo (now Tokyo), Japan, premodern withthese in particular werefilled Osaka Kyoto,and In thelastthirty yearsoftheeighteenth entrepreneurs. of new books availableper alone,thenumber century close to eightthousandtitles.4 yeardoubled,reaching of theservices aside Often thepublishers, from engaging

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FIGURE At left, in sempuyo 1831-1889), I. Visiblehereare two typesof accordionbindings. style,is Kawanabe Ky6sai (Japanese, Nogaku Zue (Picturesof No At in is Silhouette orihon 1797-1858), Sokkyb Plays),n.d. Plays),1899. right, style, Utagawa Hiroshige(Japanese, KageboshiZukushi(Collectionof Improvised

an artist ordesigner, blockcarver, andbinder, sold printer, thebooks in their own shops.Most ofthesebusinesses also published thesame single-sheet prints, employing artists to produce them. ofthese Indeed, many designers their start and even when an books, got prints illustrating he mayhavecontinued to design artist achievedfame, booksas well. Traditional books are markedly different Japanese in from their Western both materials and counterparts structures. The mostobvious difference is an almost in their exclusive reliance on washi,or paper, creation. The rawmaterials and methods used inJapanese paperin result a that is and of making paper long-fibered free in themanufacture chemical residues common damaging of manyWestern The papers. Japanesebook demonstrates itsflexibility and strength in a variety ofbindings that use folding and sewing that are techniques separate anddistinct from theEuropean tradition.'

Whilemanybinding of varying styles complexity haveevolved oneanother, five frealongside styles appear in the Art Institute's collection of quently Japanese books.The simplest of these, printed developed during in which theHeian period(A.D.794-1185),is theorihon, ofpaperarefolded backandforth, accordion longsheets covers attached to the front and back Separate style.6 to examine a bookpage-by-page orto pagesallowreaders A variation unfoldit and view it in itsentirety. on this accordion structure is thesempuiyo, orflutter book,made with a single cover that extends from thefront pageacross thespine to theback.Restrained it onlyatthespineedge, in itsmovement thantheorihon and can is morelimited be readpage-by-page or viewedin theround.Both of theearliest thesebinding from (see fig.I) evolved styles form oftheJapanese or book,thescroll.The detchoso, also the Heian book), (butterfly appeared during kochobs text sheets arefolded period.In thisbinding style, single in half(imagesidein),thenstacked and gluedalongthe

17

BINDING BEAUTY

2. These three FIGURE books illustrated by all display ToriiKiyonaga(1752-1815) four-hole Chinese-style "pouch bindings."

thepagesin thisbook-shaped spineedge.Whenopened, structure resemble a butterfly's ititsname. wings, giving the most familiar of bookArguably type Japanese is the In this or pouchbinding. binding fukuro toji, style, sheets are in half folded side out) single printed (image and stacked withthefolds at thefore positioned edgeof thebook.The text is boundwithtwisted papercordsat twostations a pouchfrom alongthespineedge,creating eachpage.The covers, softandusually are unpatterned, madefrom with a thin coarse, recycled paperandfinished of finer these are sewn onto the layer dyedpaper; binding withtinted silkthread, and a printed title slipis pasted ontothecover (seefig. 2). The mostcommon sewing patterns havefour holes(theChinese orfive holes(the style) Koreanstyle), variations canfeature as many as although twelve holesthat decorative eachwith its produce designs, ownnameandapplication. Whileanother of style pouch theyamato, shares an identical inner a binding, binding, flat cordis usedin placeofthesewing thread to holdthe In allofthese covers tothetext. theinner bindvariations, remains a stable if even the outer ing separate, component andthecovers detach. fails stitching The ArtInstitute's whichcontains books collection, in seventeenfrom thebeginnning oftheprint revolution the is one oftheforenth-century Japan through 1920os, mostin theUnitedStates andconstitutes a vital resource
18

forthestudy ofall facets ofpremodern culture. Japanese The coreof theholdings was amongthemuseum's first of as a from one of art, acquisitions Japanese coming gift its greatest thebusinessman and philanearly patrons, A. much Martin devoted ofhis thropist Ryerson. Ryerson time to Chicago's cultural as a trustee institutions, serving oftheArtInstitute from and as from 1925 president i88o in 1901. He pursued to 1926, funding spaceforitslibrary in art, tastes collections ofIndian wide-ranging building andprints, jewelry, European painting, Japanese paintings andAsianandEgyptian textiles. He donated hisJapanese in stagesbetween1913 books to themuseum and 1931, in most of them 1926. giving on having Ryerson placedgreat importance comparato study thevisual tive reference material for artists prodinJapanese ucts ofother andhisinterest illustrated cultures, books shouldbe seenin thislight. Indeed,woodblockwerenotonlypopularinJapan but printed publications onWestern were alsoan enormous influence artists, particin France.IidouardManetand ularly painters working vanGogh,for hadacquired from Vincent instance, prints thefamous ParisdealerHayashiTadamasa.Katsushika Hokusai's with HokusaiManga,itspagescrowded witty ofpeople,animals, and landscapes, was among sketches theearliest volumes tomake their where it wayto Europe, ofgraphic art. washailed as a masterpiece

forthebenefit of collectors, bookstores where in ehon theymightpurchase Japan-places itseems, where, English-speaking guides may not direct readily foreigners. By the late 1920s, Ryersonhad donated fifteen hundred volumesto the approximately museum. It was during thisperiodthathe realizedtheimportance ofpublishing a complete catWritten of alogueofthecollection. byUniversity scholar CatKenji Toda, Descriptive Chicago and Chinese Illustrated Books alogueof Japanese in theRyerson the Art Institute Libraryof of title bibliotranslations, Chicago(i931)contains of contents, information, graphic descriptions andexplanations ofillustrations, as wellas information aboutthehistory oftheJapanese print. andrichness ofthe This,alongwiththenumber booksthemselves, thecollections become helped an important, well-used resource forstudents of art and Japanese culture. In 1939theArtInstitute received 227 more books fromthe Frederick W. Gookin estate. Gookin was a consultant to thedistinguished collector of Clarence Chicago Japanese prints, and a curator at theArtInstitute Buckingham, in banking into the He left a career to from1914 1930s. becomean advisor onJapanese artandwas theorganizer of(as wellas a lender the museum's of to) 19o8exhibition that included worksfrom thecollections Japanese prints ofbothBuckingham andFrank Asidefrom LloydWright. thoseof Ryerson and Gookin,other volumes havebeen addedas gifts orpurchases overthepastdecades. In JulyI999,theconservation staff ofthemuseum's and Burnham Libraries themuseum's Ryerson surveyed collection ofJapanese illustrated books.Whilethese holdin their in resided the over ings entirety originally library, theyears weretransferred totheDepartment ofAsian they where staff and outside scholars are able to examine Art, themeasilyalongside therestof themuseum's Japanese material. As of the printed part Ryerson Library's general thebooks exhibited thestandard marksof collections, accession and catalogue numbers had library ownership: in each,and bibliographic been inscribed notes,book19

FIGURE theArtInstitute's all collection, 3. Shownhereare threebooks from with collectors' marks. At lower left and are stamped right ToriiKiyonobu 1664-1729), (Japanese, KeiseiEhon (Albumsof Courtesans),1700;and HishikawaMoronobu (Japanese, 1618-1694), FuryaSugatae Hyakunin Portraits ofHyakunin thecollectors' Isshu(The Fanciful Isshu),1695, bearing marksof EmileJaval and HayashiTadamasa,respectively. At top is Totoya Hokkei (Japanese, 1780-1850), KybkaKeikashi(Collectionof Ky6ka on the whichis stamped withthemarkof Louise Norton Brown. Moon), 1829,

hisbooksfrom various sources. Ryerson purchased While theearlier oftheRyerson collection has provenance the themselves unrecorded, publications gone largely often collectors' seals(see fig.3). Theseinform us carry that themajority camefrom LouiseNortonBrown, who was theauthor ofBlock-Printing and BookIllustration in the Earliest Period to the Twentieth Japan from Century book on thesubjectofehonin English. (1924), thefirst Brownincluded hundreds oftitles in herextensive index, thosein herpersonal collection. Shealso listed, including

BINDING BEAUTY

FIGURE cardboardcovers, embrittled 4. Wraparound by age,previously housed itemsin thecollection. FIGURE 5.One quarteroftheMartinA. RyersonCollection-approximately

manufactured in the 192osand 400 titles-is housed in pamphlet bindings cover intowhichmultiple volumes wereglued. Shownhereis a pamphlet 1930s.

andshelf location labels werepasted to thecovers. plates, inthestacks, To ensure that thebooksstoodupright earlier librarians had reinforced theflexible paperbindin two half of the volumes were housed in ings ways: cardboard were (see fig. 4) andanother wrappers quarter boundin pamphlet covers that wereglueddirectly to the inthe delicate silkstitching threads (seefig.5). Purchased and to the introduction of 1920S prior lignin-free 193os, products,these enclosureswere acidic and severely
20

little Forembrittled, offering protection.8 were also made before the tunately, they of pressure-sensitive proliferation tapes and polymer-based which are adhesives, in their morepermanent than applications water-soluble The their counterparts. rebooks werehoused in original maining or chitsu, that werestrucboxes, Japanese in condition soundbutvaried from turally to good fragile. there was no wayofknowAlthough what state the books werein before ing theArtInstitute itwas evithem, acquired dentthat decadesofhandling byprevious and curatorial owners, library patrons, in thesortofphysical staff had resulted damage typicallyassociated withuse. Halfofthevolumes exhibited folds, split tornpages,loose plates,and worntitle On another covers weredamthird, strips. and stained, and in a few aged,abraded, were they missing altogether. Whileall fields ofconservation share an inviolable towork commitment toward the long-term of cultural preservation the and of property, principles practice book conservation differ from those ofall othermediain one very important way: books are,bynature, tactile that aremeant to be objects used. It is onlyby openinga publication's coversand thecontents that wecanfully itsvalue. exploring appreciate For thisreason, itis thepreservation ofthebinding-the mechanical structure that totheactofturning the responds lies at the heart of book conservation. pages-that Threemonths after to examine thesample beginning conservators a written and volumes, presented report to theDepartment treatment ofAsianArt. This proposal focused on the addiplan reversing library's processing andstabilizing materitions, repairing bindings, damaged als forfuture use by scholars. The finalstageinvolves thevolumes to reflect theoriginal and rehousing Ryerson Gookincollections. the first three of Throughout years the theconservation hasremained thesame. project, process

After first eachvolume, conevaluating a treatment servators create proposaland add it to a searchable database. electronic on the treatment book itself, Beginning remove commercial covers andwrapthey andresidlabels, pers,andlift bookplates, ual adhesives a poultice ofmethylcelusing lulose (see fig.6).9Next,theyrelocate to filesanynotes,papers,or other separate inclusions thatmaybe compromising the The mostunusual of bindingstructure. these to datewerethirty-five driedgingko leavesdeliberately placed intothefolded areasofa pouchbinding. Whiletheleaves infor have beenslipped their insecticimay dal properties, theirpresenceremainsa mystery. In thefollowing ofwork, covers stage are cleaned and pencil marks,with the are oforiginal notations, exception library erased. Conservators mend small tears with and and Japanese paper paste,humidify flatten foldsand creases, and replace weak and broken sewing with silk threadto matchtheoriginal as closelyas possible. then make new covers toreplace those They that aremissing or offer additional protectionto those that areextremely worn. Once thetreatment ofindividual volumesis complete, theconstruction ofprotective to arrive wrappers begins.'In order at a casedesign that wouldbe aesthetically withthecollection, compatible onlytraditional Japanese models wereconsidered. The primary reason forchoosfrom case,themaruchitsu, ingthesimplest wraparound thevariety of designsthatexistis thelargenumber of hundred-that needto be cases-approximately eighteen built." in a prothe of error Considering margin possible teamhas relied on ject of thissize, the conservation in theproducto assist twenty-first-century technology tionofthehistoric cases.Usingtheoriginal dimensions of a book and a worksheet on Microsoft Excel developed thatautomatically calculates thedimensions forthefive

FIGURE 6. Conservation Technician Christine Fabian removes binder's tape from one of theArtInstitute's books. Japanese printed
FIGURE 7. In an effort to distinguish thatmake betweenthetwo maingifts

two different to cover book clothswereselected Japanese up thecollection, thecases. The Frederick W. Gookin MemorialCollectionis seen in gold, whiletheMartinA. Ryerson Collectionis housed in green.In rareinstances in whicha multivolume set is composedof worksin bothcollections, a band is used acrossthespineas a visualindicator.

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BINDING BEAUTY

andthree liners needed to complete eachcase,they boards are able to producechitsumuchmoreefficiently and without mathematical mistakes. The needforefficient also affected deciproduction sionsaboutmaterials and adhesive. Whilewheatstarch in is used almost the craft ofJapanese paste exclusively box making and bookbinding, it also dries slowly.12 very in itsplacewas a fast-drying Selected acetate polyvinyl in application to common (PVA), a vinylresinsimilar white Two book cloths from a blend (made glue. Japanese ofrayon and silk, andbackedwithpaper)arebeing used to coverthecases,whilea machine-made Western paper with PVAthan (more compatible Japanese paper)is being used to line them.Traditional bone clasps secureand eachcase(seefig. 7). complete At thistime, books that makeup theGookin all 227 collection havebeentreated, andrelocated to a rehoused, in Asian Art. area the of Department permanent storage While an additional from theRyerson collection 332items have also been conserved,approximately 1372titles

remain. The Department of AsianArthas beguncatain both and the collection electronically Japanese loguing whichcontains new database, English.This computer the titles in our owes its sucon possession, scholarship cess to dedicated volunteers who grapple with patiently indepth. thecomplexities ofcataloguing thematerial illustrated books has seen a Researchon Japanese In increase since the recent steady yearstheArt I98os. has welcomed countless scholars and students Institute to study our from the United and elsewhere States, Japan, Seldom does a specialist visit us without makcollection. a of rare or unseen discovery previously ing startling material. Worksby Katsushika Hokusai,forexample, a fullio percent oftheArtInstitute's comprise holdings ofJapanese books.Within thatnumber resides printed the collection's rarest volume,Hokusai's Miyakodori illustrated with multicolored (BirdoftheCapital), images in and around ofscenes all with sensiEdo, printed great is accompaand skill(see fig.8). Each illustration tivity nied by two or threeshortkyoka poems at the top.

FIGURE from theMiyakodori 8. Katsushika Hokusai (Japanese, (Bird of theCapital), i8o2. The Art 1760-i849). The KomagataFerry, Institute's is one of onlytwo knownto exist. complete copy of theMiyakodori

22

as an artist that thetexts Hokusaihadachieved suchfame seemto actas accompaniments to theexquisite images, Institute's rather than theother around. The Art volway umeis one ofonlytwosurviving complete copiesamong thefour known to exist. The conservation and cataloguing ofthisimportant willalmost another sixto seven collection take certainly Within thattime, as we continue to yearsto complete. will uncover the we know we be (anddiscover) collection, that we willtreat and materials challenged bythedelicate the of and be inspired by exquisiteexamples printing volumedisplays. We also thateach individual artistry knowthat there willbe moments ofpuredelight, as when we found Utagawa Hiroshige's playful Sokkyo Kageboshi of Silhouette Zukushi (Collection Improvised Plays;see 9). fig.

FIGURE 9. UtagawaHiroshige.FromSokkyb KageboshiZukushi(see fig.i)

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NOTES

aretantalizing cluesto pararealgar's useinthebroadcollar as well, where 17. There ithasbeenemployed to outline ofreserved Thefadcolor. triangular shapes ground colorhasrendered thecontrast with thereserved areas faint. ingofthis very 18. Orpiment, an arsenic was moresparingly sulfide, used,detected onlyin the andon thetallplumes. inscription ofarsenic sulfides is a well-known that hasbeen 19. The light-fading phenomenon clarified in several andhasalso be shown to occurin thedark; see recently papers Vincent DanielsandBridget andAlteration ofRealgar on Leach,"TheOccurrence Ancient Studies in Conservation Egyptian Papyri," 49 (2004),pp. 73-84;D. L. andGe Wang, "TheLight-Induced Alteration ofRealgar Douglass, Chichang Shing, to Pararealgar," AmericanMineralogist77 (1992), pp. 1266-74;and Karen Leon Stodulski, andMarkPavlosky, "Characterization ofPararealgar Trentelman, and OtherLight-Induced Transformation Productsfrom Realgarby Raman In thepast, 68, 10(1996), Microspectroscopy," Analytical Chemistry pp. 1755-61. hasbeenmisidentified inmany instances as orpiment duetothefact that pararealgar thetwopigments share a very similar visual andthesamecharacterizing appearance with elemental Thanks tothe element, (As),when investigated analytical techniques. advancesin analytical in recent of instrumentation, yearsnumerous examples ofpararealgar inpolychrome artifacts have seeA. beenpublished: findings Egyptian Rosalie Davidetal.,"Raman ofAncient Spectroscopic Analysis Egyptian Pigments" 45, 4 (2001), pp. 461-73; Edwards et al. (note 16); and Peter Archaeometry et Examination of Two Egyptian Masks:A Vandenabeele al., "Spectroscopic Letters33, 15 (2000), pp. 3315-32. CombinedMethodApproach," Analytical was also found on a ofpapyrus formore on these, see number Pararealgar objects; Green DanielsandLeach(above); andLuciaBurgio andRobin (note16), pp. 88-89; ofSixModern andan J.Clark,"Comparative Pigment Analysis Egyptian Papiry AuthenticOne of the i3th CenturyB.c. by Raman Microscopyand Other Journal Techniques," ofRamanSpectroscopy 31(2000), pp. 395-401. 20. Modern consolidants have oversomeareasofthepainted surface. beenapplied Twocommon modern (PVA)andpolyethylmethconsolidants-polyvinylacetate invarious areas. (B-72)-weredetected acrylate/methylacrylate 21. For a description ofbinding media inEgyptian with a listofscientific paintings see Richard Newmanand SusanaM. Halpine,"The Binding Mediaof findings, Ancient inDavies(note5),pp. 22-32. Egyptian Painting," 22. For moreon this,see theproceedings of twointernational The symposia, and Significance in theConservation OxalateFilms: Origin ofWorks ofArt(Milan: and TheOxalateFilms in theConservation Vega,1989); ofWorks ofArt(Bologna: Editeam, 1996).
KORBEL AND KATZ, BINDING BEAUTY: CONSERVING PRINTED BOOKS, PP. 16-23. A COLLECTION OF JAPANESE

ina variety ofapplications In this water isheldinsuscase, including poultices. agent to reverse thewater-soluble adhesives usedon the originally longenough pension books. Thepurpose ofanyenclosure is to protect itscontents from mechanical damage 1o. tomitigate theeffects ofdirt, andlight. and,invarying pollution, degrees, ii. Several on a needto shelve thebooksvertically in a basedsolely modifications, limited amount ofspace, weremadeto theconventional Most maruchitsu design. oftheridge on thefront aretheabsence case notable flapofthewraparound strip andtherepositioning ofboneclasps on very thin volumes. 12.Starch aremade from rice orwheat from which theprotein grains compopastes nent hasbeenremoved, thestarch in behind. Theyareusedas an adhesive leaving oftheir conservation andstrength. because reversibility, purity, practice
DAHM, TARNISHED BY TIME: THE TECHNICAL STUDY AND TREATMENT OF A REDISCOVERED OLD MASTER DRAWING, PP. 24-29.

indicate levels that were at40 to 5opercent for menandaboutIs literacy i. Records for women which included allsamurai anda goodnumber of percent bythe186os, for a large andmerchants. Evenifthecostofa bookwastoohigh peasants segment ofthepopulation, an abundance ofpublic existed. SeeMatthi lending libraries Publisher at Nagoya: A Contribution tothe Eirakuya Forrer, History of Toshiro, in19th-CenturyJapan Publishing (Amsterdam: J.C. Gieben, 1985), p. 77.See also R. P.Dore,Education in TokugawaJapan Athalone Press, (London: 1984), pp.254, 2. Kozo is thefiber from theinner oftheAsiatic tree Broussonetia bark papyriferia, alsoknown as paper SeeMatt andDon Etherington, mulberry. T. Roberts andtheConservation A Dictionary Bookbinding ofBooks: ofDescriptive ofCongress, Terminology 1982). (Library in when had to contain thedateofthe became 3. Colophons required 1722, they theauthor's realname, and thepublisher's information. Thiswas a publication, to regulate authorities thepublishing and some wayfortheshogunal industry, scholars it also identified enemies oftheshogunate. See Forrer believe potential (notei), p. 73. 4. Ibid., p. 68. The artofbookbinding, as wellas those ofpapermaking andprinting, in evolved 5. from inventions inChina.KojiroIkegami, Japan originating Japanese Bookbinding: a Master Instructions Weatherhill, (NewYork: from Craftsman 1998). 6. During theHeianperiod, more known as Classical the commonly Japan, Japanese court was at its The era was also marked imperial height. bytheriseofthesamurai andbygreat in cultural evolutions literature andthearts. Formore, seeibid. Toda'sis theearliest, most ofRyerson's it 7. Although collection, complete catalogue no a ofthemuseum's account illustrated as a is in way complete book collection whole.See also therelated articles in Bulletin byToda andHelenGunsaulus ofthe ArtInstitute 21,4 (Apr. 22, 1927),pp. 52-53; 21, 9 (Dec. 1927),pp. 110-112; ofChicago I (Jan. 1928),pp. 8-9;and25,8 (Nov.1931), p. 109. 8. Lignin is a complex molecular found inthestructure ofwood.In themansystem ufacture ofwood-pulp itspresence hastens deterioration paper products, greatly by acidsthat downthepaper break fibers. producing 9. Methylcellulose is a plant-based emulsion usedas a weakadhesive or thickening
317-22.

from various historical sources. SeeAstrid i. Thedates areestimated "The Tiimpel, inPieter Leermeester vanRembrandt, ed.Astrid LifeofPieter Lastman: Lastman," andPeter House,i991), p. 11. Rembrandt Schatborn (Amsterdam: Tiimpel and Thamar andSophonisba the Poisoned inE Receiving Cuparepublished 2.Judah W. H. Hollstein, Dutch and Flemish and Woodcuts, ca. Etchings, Engravings, vol. o0 M. Hertzberger, 1450-1700, 1949), (Amsterdam: p. 35,no. I andp. 37,no.23, ThePreaching theBaptist, which hasbeenon loanto the John ofSaint respectively. from thedioceseofSpringfield, ArtInstitute since1998, is reproduced in Illinois, sein Lebenundseine EinBeitrag zurGeschichte Kurt Kunst: Pieter Lastman, Friese, derHolland.Malerei imXVII. Jahrh. Klinkhardt andBiermann, 1911), pl. (Leipzig: 27. outwith A water-soluble ofmethylwascarried layer 3. All in-painting watercolor. first in order to isolate thepaperfrom thein-painting cellulose was applied media andtofacilitate their future removal ifnecessary. on this seeMargo information R. McFarland, "TheWhitening 4. Formore process, Gels on Darkened Effects ofPeroxide Lead White Bookand PaperGroup Paint," Annual16(1997), pp. 55-66. to paperbywireson thepapermaker's is a trademark imparted 5. A watermark areoften or mould. fanciful visible Watermarks, screen, light, onlyin transmitted to a paper designs particular manufacturer. known useofthis version oftheStrasbourg Bendwatermark, 6. Fortheearliest see Edward Haewood,Watermarks (Amsterdam: 1970), p. PaperPublications Society, watermark found inprints ofthis andhisfollowers, byRembrandt 67.Forexamples AshandShelley inRembrandt's Prints seeNancy Watermarks Fletcher, (Washington, ofArt, D.C.: National 1998), pp. 181-87. Gallery is better known than Andreani's woodcut monumental buttheoricopy, 7. Titian's version andnotTitian's indicate itwasAndreani's entation andsizeofthedrawing work.For an illustration ofPharaoh's that was themodelfortheArtInstitute's andMichelangelo intheRedSea,seeDavidRosand Drowned Muraro, Titian Army and theVenetian exh.cat.(Washington, D.C.: International Woodcut, Exhibitions Foundation, 1976), p. 70. BlackoftheHunterian Museum 8. Thisconnection was kindly suggested byPeter ofGlasgow. The Rubens is undated andArtGallery, butpredrawing University whentheartist was in wouldhavebeenexecuted 16ooand 16o8, between sumably source that theoriginal couldhave TheLouvre been design suggests catalogue Italy. more theSchoolofRaphael. SeeFritz a fresco Lugt, or, generally, byGiulioRomano des ecolesdu Nord (Musies Musee du Louvre:Inventaire generaldes dessins vol.2,p. 22, cat.1038. nationaux, 1949), seeTiimpel on Lastman's (notei), p. 12, n. 399. Formore collecting,
ZUCCARI, ViLIZ, AND FIEDLER, SAINT JOHN IN THE WILDERNESS: ON TECHNIQUE, STYLE, AND AUTHORSHIP, PP. 30-45. OBSERVATIONS

thefollowing fortheir The authors wouldliketo thank efforts colleagues generous materials: and research BrunoMottin, Centre de to provide accessto paintings Cincinnati desmus6es deFrance; recherche etderestauration Art Bonadies, Stephen ClaireBarry, ArtMuseum, FortWorth; Rafael Romero Kimbell Museum; Asenjo Charlotte IllinGutiirrez, Museum ofArt, andAdelina Hale,Metropolitan Madrid; New York;Carmen Woodward, MuseodelPrado;RhonaMacBeth, Garrido, Jean Steven ofFineArts, Wadsworth Museum andIrene Kornhauser, Boston; Konefael, Wallace and London;RitaAlbertson Collection, Hartford; Atheneum, JoHedley, ArtMuseum; andPatricia Worcester Garland, YaleUniversity Klausemeyer, Philip oftheMuseum ofFineArts, Newman thanks ArtMuseum. go to Richard Special which included from for in assistance, Boston, samples analyzing SaintJohn ongoing We gratefully theWilderness. McKim-Smith's Gridley inspirational acknowledge interest inthis work onVelizquezandherenthusiastic project. David Bomford, AshokRoy, to RachelBillinge, We arealso greatly indebted for accessto andMartin London, advice; providing Gallery, Wyldat theNational andtechnical andresearch files; analysis photographs; copiesofX-rays paintings theX-ray ofAlonsoCano'sTheVision andfor ofsamples; John producing ofSaint theEvangelist.

IO5