This essay presents an overview of the Making and Knowing Project and its approach to teaching hands-on history of craft and science through the lens of an early modern manuscript compilation of artisanal recipes. It calls attention to the advantages and challenges of cultivating student skills through an intensive program of problembased pedagogy, highlights the transformative potential of experiential learning, and introduces the Project's next initiative: a "Research and Teaching Companion" to help users integrate exploratory, question-generating experiments into the classroom and project design. W ithin the darkened lecture hall of first-year Art History, in the dying days of film slide projection, the man in the red scarf, Jens T. Wollesen, turned to his incoming undergraduates and said: "An art historian must make art to understand art." With that, he clicked ahead to show us slides of his own paintings, discussing his process and advertising his bona fides as both maker and historian. I had a vague sense that there was an important truth to his words, but, for convenience and from hubris, I dismissed the thought to a dusty corner of my mind. It was quaint to think that an art historian should find the time to practice art as well. Years later, memories of this episode would return to help bookend my student experience. Shortly after defending my Ph.D., I found myself standing next to the historian of science Pamela H. Smith in a chemistry lab at the University of Toronto, turning cochineal insects into lake pigments. Smith was leading a pigment-making workshop as part of a guest lecture series on her research initiative, the Making and Knowing Project at Columbia University. 1 Beneath the hum of the fluorescent lights, metaphoric bulbs were lighting up in my head. An afternoon