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The Key of GreenPassion and Perception in Renaissance Culture$
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Bruce R. Smith

Print publication date: 2008

Print ISBN-13: 9780226763781

Published to Chicago Scholarship Online: February 2013

DOI: 10.7208/chicago/9780226763811.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 02 August 2021

Coloring Books

Coloring Books

Chapter:
(p.248) Afterword Coloring Books
Source:
The Key of Green
Author(s):

Bruce R. Smith

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226763811.003.0008

Although specimens survive from the 1850s, 1860s, and 1870s, coloring books really came into their own in the 1880s. It may be only since the 1850s that we have had coloring books, but coloring books has been going on since the invention of printing. An illumination from a professionally limned copy of the Bible appears as plate 13. Searches of the catalogs of the Folger Shakespeare Library, the Huntington Library, the British Library, the Bodleian Library, and other archives turn up scores of atlases and books on heraldry in which hand coloring has provided information that black ink on white paper could never convey. This chapter suggests some things that can be done with green, from Simon Bardon's signature in what looks to be a seventeenth-century italic hand on the title page of the Folger Library's copy of John Reynolds's The Triumphs of Gods Revenge against the Crying and Execrable Sinne of (Wilful and Premeditated) Murther (1663), to Isaac Oliver's painting.

Keywords:   coloring books, printing, black ink, white paper, green, Simon Bardon, painting, Isaac Oliver, John Reynolds

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