1. Such as James D. L. , “The Archive for Research in Archetypal Symbolism”, and Samuel E. , “The Illustrated Bartsch: Approaches to the Organization of Visual Materials”, Spring 1980: p.7-18 and p.60–66, respectively. Another article of great appeal for art historians especially is C. Thompson’s “Why Do You Need to See the Original Painting Anyway?” (Fall/Winter 1981/Spring 1982: p.21–36).
2. Ness (p. 181–182) gets very close to pin-pointing the reason why Boston is called “the Hub”, without actually finding an early 18th-century instance of this nickname. Residents today know, of course, that Boston is the Hub of the Universe.
3. Roberts Helene E. very kindly provided most of this information during an interview of September 14, 1987.
4. The Visual Resources Association (VRA) is an organization of visual resources administrators in the broadest sense. Founded in 1983, it conducts conferences, workshops, and tours, and publishes a quarterly newsletter, the International Bulletin for Photographic Documentation of the Visual Arts, in addition to the new series of the Slide Buyer’s Guide ( Sundt C. L. , “Introduction. Visual Resources and the Visual Resources Association”, Visual Resources, New Series, III, no.2, Summer 1986: p.5–6).
5. For Markey’s article see Visual Resources, August 1983: p. 16–49. Another intriguing article that seems wrong for Visual Resources is Hoffberg’s J. “Microfiche Art: Interview with Caroline Kent (Fall/Winter 1981/Spring 1982: p.92-100)”, because it concerns an artist’s use of microfiche to create works of art, not reproduce them.