Concentrating on slides, as the major classroom teaching material for the study of art history, this paper provides an outline of procedures for their acquisition, processing, storage, circulation and management. Following on from this the development of the profession of slide curator (qualifications, training and status), and the organisations which have been formed to serve the needs of this professional group and their achievements are described, and evaluated. This paper was first delivered to the Section of Art Libraries at the IFLA Council in Montreal, August 1982.

As the range and sophistication of visual resources, and the size of collections available to the art historian and student have increased over the last century, so has the need for an appropriately qualified body of professionals to organise and develop them. This paper explains how and why those involved with visual resources have tended to have a background and training other than in librarianship, and how as a consequence, the two branches of the profession of art librarianship (textual and visual) have grown apart, with visual resources professionals allying themselves to art historical organisations. The author makes a case for the merging of the two professions, united in serving the same subject oriented clientele. This paper was first delivered to the Section of Art Libraries at the IFLA Council, in Montreal, August 1982.

The architectural history of factories is not yet a popular field of research. Nor, in design history terms, is there investigation into how efficiently their design is related to functions or how it affects the well-being of the occupants. Such investigations must cross the boundaries of, and interrelate the fields of architectural, social, political and economic research. An integrated methodology has yet to be achieved. This article describes how a section of the Dunlop Archive Project is finding its way in this field.

The Library of Congress Prints and Photographs Division, and the Science Museum Pictorial Collection have both recently produced draft codes of rules for the cataloguing of visual materials based on AACR2. This paper provides an assessment and comparison of the two draft codes and concludes both that these codes show that AACR2 does provide a valuable base for building more detailed specialised rules upon, and that the codes provide valuable thinking which should be in-put into AACR3.