Many individuals have offered criticism and help. We thank particularly the Brandeis undergraduates in the 1998 and 2002 Chemistry & Art courses, who analyzed critically an early versions. Colleagues in conservation and art history have been especially helpful. Special thanks to Anna Henchman for help reviewing the text, and Marsha Douma for simplifying the interface. We thank Andrea Bayer, David Brown, Dawson Carr, Rupert Featherstone, Peter Humfrey and Elizabeth Walmsley for art historical and conservation guidance.

Infrared photography technique. The infrared photograph of the Feast of the Gods is a composite of images from a solid-state platinum silicide (PtSi) camera. This image is a composite of numerous 640 by 486 pixel tiles obtained between 2 - 2.4 mm, illuminated by quartz photofloods. Images were digitized into a Macintosh Quadra 700 controlled by IPLab Spectrum software, and assembled using Adobe Photoshop. The camera was a Kodak 310-21X thermal imaging Schottky barrier camera mounted in a vacuum insulated Dewar flask for operation at -196 °C cooled by liquid Nitrogen. X-ray photography technique. The X-ray photograph of the Feast of the Gods is a composite of numerous X-ray films, which are similar to medical X-rays. A typical X-ray wavelength used is ~71 pm. At that wavelength, a typical paint thickness of ~100 mm of lead white allows less than 7 % of the initial X-ray intensity to reach the film—appearing light-colored. By comparison, other common pigments in the traditional palette are virtually transparent to X-rays, azurite and red ochre respectively transmit 54 and 51 % under similar conditions—appearing dark-colored.

Page headlines are set in Old Claude, which was drawn by Paul Shaw to simulate an old cut of the classic Garamond type designs of the 16th and 17th centuries. Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century. The Garamond typeface and its variations have been a standard among book designers and printers for four centuries. The pronounced rough edges and coarse letter shapes simulate the effect of traditional letterpress printing where old foundry type meets handmade paper.

While we have used our best efforts to verify that the information contained herein is accurate, we make no warranties to that effect, and shall not be liable for any damage that may result from errors or omissions in this exhibit.