Preface
In June I995 an international symposium was held in Leiden entitled Historical painting techniques, materials, and studio practice. The success of this symposium - it attracted some 300 visitors - demonstrated the growing interest in the subject of technical art history, encouraging interdisciplinary co-operation among art historians, conservators and conservation scientists. As a result, the trustees of the Leiden Art Historical Yearbook asked me to edit the eleventh volume of their Yearbook devoted to the theme of the symposium. In doing this, 1 have tried to make a selection of articles focusing on the role that the study of painting techniques and materials can have within art historical research. Undoubtedly, insight into the physical process of making an art work is as important for its correct interpretation as is knowledge of its art historical background. We should not just study the invenzione but also the disegno and the colore as David Bomford says in his introduction to this book. I have been very fortunate to have received articles from many important scholars. Their contributions form a stimulating guide to current research in this fascinating, interdisciplinary field and encourage further exploration and co-operation. I would like to thank the associate editors Annemiek Ouwerkerk and Nicola Costaras for their invaluable help in putting together this book. We are indebted to the trustees of the Sticbting Charema, Fonds Voor gescbiedenis en kunst for the generous financial support of this publication, enabling us to produce such a beautiful book.

A special thank you however, goes to all the authors for sharing their knowledge and enthusiasm, making this book a valuable addition to this relatively new field within art history.
Erma Hermens, editor