REFERENCES
Introduction
1 Geoffrey of Monmouth, The History of the Kings of Britain [c. 1136] (V, vii, 3), trans. L. Thorpe (London, 1966), pp. 171â4. Red and white flowers are not mixed by some as, for them, the combination evokes the âblood and bandagesâ of wartime.
2 J. W. von Goethe, Elective Affinities [1809], vol. II, chap. 2, trans. R. J. Hollingdale (Harmondsworth, 1978), p. 163.
3 Ibid., p. 164.
4 Ibid., vol. II, chap. 4, p. 180.
5 J. Blower, âMonuments and Memento Mori in Goetheâs Elective Affinitiesâ, Future Anterior, VII/2 (2011), pp. 37â48.
6 B. Faure, The Red Thread: Buddhist Approaches to Sexuality (Princeton, NJ, 1998).
7 L. C. Jones, âThe Evil Eye among European-Americansâ, Western Folklore, X/1 (1951), p. 12.
8 Oxford English Dictionary, online version, www.oed.co.uk (2014).
9 A. Conan Doyle, âA Study in Scarletâ, in The Stories of Sherlock Holmes (London, 1904), vol. I, p. 45.
10 C. Ginzburg, âMorelli, Freud and Sherlock Holmes: Clues and the Scientific Methodâ, History Workshop, IX (1980), p. 12. Sigmund Freud also knew of Goetheâs red thread and referred to it in his book Jokes and their Relation to the Unconscious (Redditch, 2013). See C. Ginzburg, âFamily Resemblances and Family Trees: Two Cognitive Metaphorsâ, Critical Inquiry, XXX/3 (2004), p. 539.
11 P. Bayard, Sherlock Holmes Was Wrong, trans. C. Mandell (New York, 2008), pp. 30â53.
12 Ludwig Wittgenstein, Remarks on Colour, ed. G.E.M. Anscombe, trans. L. L. McAlister and M. SchÀttle (Berkeley, CA, 1979), p. 16e.
13 Matthew 27:28, Luke 23:11, Mark 15:17 and John 19:2.
14 M. Bimson, âCosmetic Pigments from the âRoyal Cemeteryâ at Urâ, Iraq, XLII/1 (1980), pp. 75â7; A. Lucas, âCosmetics, Perfumes and Incense in Ancient Egyptâ, Journal of Egyptian Archaeology, XVI (1930), pp. 41â53.
15 Ovid, Rem. Am. 351, in K. Olson, âCosmetics in Roman Antiquity: Substance, Remedy, Poisonâ, The Classical World, CII/3 (2009), p. 296.
16 Olson, âCosmeticsâ, pp. 291â310.
17 Pliny the Elder, Natural History, Book XXVIII, chap. 28, trans. H. Rackham (London, 1968), vol. VIII, p. 77.
18 H. D. Betz, The Greek Magical Papyri in Translation, Including the Demotic Spells (Chicago, IL, 1996), pp. 167â9.
19 Herodotus, The Histories, trans. R. Waterfield (Oxford, 1998), vol. II, p. 99.
20 F. Gunn, The Artificial Face: A History of Cosmetics (Newton Abbot, 1973), pp. 53â69.
21 F. E. Dolan, âTaking the Pencil out of Godâs Hand: Art, Nature and the Face-painting Debate in Early-modern Englandâ, PMLA, CVIII/2 (1993), pp. 224â39.
22 G. P. Lomazzo, A Tracte Containing the Artes of Curious Paintinge, Caruinge and Buildinge [1598], trans. R. Haydocke (Farnborough, 1970), p. 127.
23 L. S. Marcus, J. Mueller and M. B. Rose, eds, Elizabeth I: Collected Works, 1533â1603 (Chicago, IL, 2000), letter of 15 May 1549, p. 35.
24 A similar problem afflicted some portraits by Sir Joshua Reynolds two centuries later.
25 N. Williams, Powder and Paint (London, 1957), p. 17.
26 Melissa Hyde, âThe âMakeupâ of the Marquise: Boucherâs Portrait of Pompadour at her Toiletteâ, Art Bulletin, LXXXII/3 (2000), pp. 453â75.
27 C. Palmer, âBrazen Cheek: Face-painters in Late Eighteenth-century Englandâ, Oxford Art Journal, XXXI/2 (2008), pp. 197â213.
28 In a similar reaction against French formal gardens, the English adopted Lancelot âCapabilityâ Brown and Humphry Reptonâs contrived, but apparently natural, style of landscaping.
29 Williams, Powder and Paint, p. 98.
30 In fact, Londonâs air had been choking and sulphurous for some centuries and Elizabeth I refused to enter London in 1598 because of the stench of burning sea coal. See Calendar of State Papers, Domestic Series, of the Reigns of Edward VI, Mary, Elizabeth, 1547â1580, ed. R. Lemon (London, 1856), p. 612.
31 London Journal Fashions, no. 98, p. 11, cited in Williams, Powder and Paint, p. 106.
32 Williams, Powder and Paint, pp. 107â33.
33 Anon., âCosmetics Not to be Rationed, Regardless of War Emergencyâ, Science News Letters, XXXIX/17 (1941), p. 271.
ONE Animal Reds
1 R. Fletcher, âMyths of the Robin Redbreast in Early English Poetryâ, American Anthropologist, II/2 (1889), pp. 97â118.
2 P. de Bolla, Art Matters (Cambridge, MA, 2001), p. 2.
3 A. Chrisafis, âHead Twoâ, The Guardian, 4 July 2002, p. 1. (The head in question was from Marc Quinnâs first cast and the newspaperâs frontpage headline referred to an adjacent article on the decapitation of Margaret Thatcherâs statue, appropriately entitled âHead Oneâ.)
4 V. Mazel et al., âIdentification of Ritual Blood in African Artefactsâ, Analytical Chemistry, LXXIX/24 (2007), pp. 9253â60; D. Fraser et al., âCharacterisation of Blood in an Encrustation of an African Maskâ, Analyst, 138 (2013), pp. 4470â74.
5 R. Chenciner, Madder Red: A History of Luxury and Trade (Richmond, 2000), pp. 181, 193.
6 R. de Clari, La ConquĂȘte de Constantinople, ed. P. Lauer (Paris, 1924), p. 117, cited in S. Kinoshita, âAnimals and the Medieval Culture of Empireâ, in Animal, Vegetable and Mi...