Description:
Intro -- Contents -- About the Editors -- Chapter 1: Introduction: Ordering Colours in Eighteenth- and Early Nineteenth-Century Europe -- 1.1 The Challenges of Colour Order -- 1.2 Historiographic Contexts -- 1.3 The Contents of this Volume -- References -- Part I: Evolution of Colour Systems and Standards -- Chapter 2: The Shape of Colour Order Systems and the Evolution of Colour Theory -- 2.1 Introduction -- 2.2 From a Line to a Closed Circle -- 2.3 The Rise of Trichromatic Theory and the Jump to the Third Dimension -- 2.4 Distinction Between Additive and Subtractive Colour Mixture -- 2.5 Colour Mixture as a Gradual Process -- 2.6 Punctuated Evolution of Colour Order Systems -- References -- Chapter 3: Materialisation of Vision: Colour Standards in the Early Sciences, Handicrafts, and Arts -- 3.1 Ordering Colours: Colour Systems and Colour Reference Systems -- 3.2 Natural History: Colour Tables and Colour Scales -- 3.3 Knowledge Transfer from the Arts and Crafts -- 3.4 Example: The Spread of a Colour Standard in Early Mineralogy -- 3.5 General Requirements of a Scientific Colour Standard -- 3.6 Conclusion -- References -- Part II: Colour Theory and Colour Order -- Chapter 4: A Tale of Five Cities: Jacob Christoff Le Blon and His Development of Trichromatic Printing -- 4.1 Frankfurt am Main -- 4.2 Rome -- 4.3 Amsterdam -- 4.4 London -- 4.4.1 The Start of Colour Print Production -- 4.4.2 Success and Decline -- 4.4.3 An Anatomical Atlas, and Coloritto -- 4.4.4 The Weaving Project -- 4.5 Paris -- 4.5.1 Demonstrating the Process -- 4.5.2 Workshop Staff -- 4.6 Gautier and Le Blon's Heritage -- 4.7 Conclusion -- References -- Chapter 5: Colour Theory by Mikhail Lomonosov: From Dyes and Mosaics to a Trichromatic Idea -- 5.1 Lomonosov's Life and Education -- 5.2 Lomonosov's Interest in Colour Theory -- 5.3 Russian Colour Theories Before Lomonosov.