In this introduction I closely read Marquand’s arguments in “On Scientific Method in the Study of Art” both in relation to their sources and in relation to Marquand’s own subsequent scholarship. My thesis is that Charles Sanders Peirce’s writing is the most conspicuous and important inspiration for the essay; however I also contend that Marquand’s handwritten corrections to the surviving manuscript of the text reveal a struggle with Peirce’s ideas that can – especially in light of Marquand’s later writing – be read to expose an ambivalent or potentially even critical attitude toward central aspects of Peirce’s thought. I conclude by noting that Marquand’s intellectual relationship with Peirce speaks to both the past, present, and future of art historical scholarship.