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Treasures from the Sea: Sea Silk and Shellfish Purple Dye in Antiquity

combination of materials in this time and that place. The best we can do is document and cross-document and, from this, interpolate practices and variations as they are found. The means are here. Although the author’s analyses assume some understanding (or, better still, experience) of painting practice, this is a work with value for those without such knowledge. The book has three parts: the first carries the reader through Stols-Witlox’s research program. In 14 chapters, she introduces the recipe collection, suggests some over-arching historical points, describes each of the layers that might make up the under-layers of a painted surface, discusses reconstruction techniques, and analyses the results of both practice and instrumentation. Stols-Witlox offers access to her data, and further discussion of certain recipes, in her appendices, which constitute about one-quarter of the book. The final portion is an annotated bibliography of sources, which includes context and contents. These last two sections may be the most valuable aspects for those who do not participate in the discipline of technical art history but are nevertheless interested in trade, artisan practices, the transmission of knowledge, or the broad picture and fine details of painting practices in Europe.