Notebook, 1993-

Il Libro dell' Arte - Cennino D' Andrea Cennini. The Craftsman's Handbook. The Italian "Il Libro dell' Arte." Translated by Daniel V. Thompson, Jr. New York: Dover Publications, Inc. 1933, by Yale University Press.

C o n t e n t s

I The first chapter of the first section of this book. p. 1.
III How some enter the profession through loftiness of spirit, and some, for profit. p. 2.
IIII Fundamental provisions for anyone who enters this profession. p. 3.
IIIII How the schedule shows you into how many sections and branches the occupations are divided. p. 3.

IV How you begin drawing on a little panel; and the system for it. p. 4.
IVI How to draw on several kinds of panels. p. 4.
IVII What kind of bone is good for treating the panels. p. 5.
IVIII How you should start drawing with a style, and by what light. p. 5.
IVIIII How you should give the system of lighting, light or shade, to your figures, endowing them with a system of relief. p. 6.

IX The method and system for drawing on sheep parchment and on paper, and shading with washes. p. 6.

IXI How you may draw with a leaden style. p. 7.
IXII How, if you have made a slip in drawing with the leaden style, you may erase it, and by what means. p. 7.

IXIII How you should paractice drawing with a pen. p. 8
IXIIII How to learn to cut the quill for drawing. p. 8.
IXV How you should advance to drawing on tinted paper. p. 9.
IXVI How the green tint is made on paper for drawing; and the way to temper it. p. 9.
IXVII How you should tint kid parchment, and by which method you burnish it. p. 10.
IXVIII How you should tint paper turnsole color. p. 11.
IXVIIII How you should tint paper with an indigo tint. p. 11.
IXX How you should tint papers with reddish color, or almost peach color. p. 12.
IXXI How you should tint papers with flesh color. p. 12.
IXXII How you should tint papers greenish gray, or drab. p. 12.
IXXIII How you may obtain the essence of a good figure or drawing with tracing paper. p. 13.
IXXIIII The first way to learn how to make a clear tracing paper. p. 13.
IXXV A second way to make tracing paper: with glue. p. 14.
IXXVI How to make tracing paper out of paper. p. 14.
IXXVII How you should endeavor to copy and draw after as few masters as possible. p. 14.
IXXVIII How, beyond masters, you should constantly copy from nature with steady practice. p. 15.
IXXVIIII How you should regulate your life in the interests of decorum and the condition of your hand; and in what company; and what method you should first adopt for copying a figure from high up. p. 16.

IXXX How you should first start drawing on paper with charcoal, and take the measurement of the figure, and fix it with a silver style. p. 17.

IXXXI How you should draw and shade with washes on tinted paper, and them put lights on with white lead. p. 17.
IXXXII How you may put on lights with washes of white lead just as you shade with washes of ink. p. 18.

IXXXIII How to make good and perfect and slender coals for drawing. p. 19.
IXXXIIII About a stone which has the character of charcoal for drawing. This ends the first section of this book. p. 20.

IXXXV The secnd section of this book: bringing you to the working up of the colors. p. 20.
IXXXVI This shows you the natural colors, and how you should grind black. p. 20.
IXXXVII How to make various sorts of black. p. 22.
IXXXVIII On the character of the red color called sinoper. p. 23.
IXXXVIII How to make the red called cinabrese, for doing flesh on the wall; and about its character. p. 23.

IXL On the character of the red called vermilion; and how it should be worked up. p. 24.
IXLI On the character of a red called red lead. p. 25.
IXLII On the character of a red called hematite. p. 25.
IXLIII On the character of a red called dragonsblood. p. 26.
IXLIIII On the character of a red called lac. p. 26.
IXLV On the character of a yellow color called ocher. p. 27.
IXLVI On the character of a yellow color called giallorino. p. 28.
IXLVII On the character of a yellow called orpiment. p. 28.
IXLVIII On the character of a yellow which is called realgar. p. 29.
IXLVIIII On the character of a yellow called saffron. p. 29.
IL On the character of a yellow called arzica. p. 30.
ILI On the character of a green called terre-verte. p. 30.
ILII On the character of a green called malachite. p. 31.
ILIII How you make a green with orpiment and indigo. p. 32.
ILIIII How you make a green with blue and giallorino. p. 32.
ILV How you make a green with ultramarine blue. p. 33.
ILVI On the character of a green called verdigris. p. 33.
ILVII How you make a green with white lead and terre-verte; or lime white. p. 33.
ILVIII On the character of lime white. p. 34.
ILVIIII On the character of white lead. p. 34.
ILX On the character of azurite. p. 35.
ILXI To make an imitation of azurite with other colors. p. 36.
ILXII On the character of ultramarine blue, and how to make it. p. 36.
ILXIII The importance of knowing how to make brushes. p. 40.
ILXIIII how to make minever brushes. p. 40.
ILXV How you should make bristle brushes, and in what manner. p. 41.
ILXVI How to keep minever tails from getting moth-eaten. This ends the second section of this book; begins the third. p. 42.

LXVII The method and system for working on a wall, that is, in fresco ; and on painting and doing flesh for a youthful face. p. 42.

ILXVIII The method for painting an aged face in fresco. p. 47.
ILXVIIII The method for painting various kinds of beards and hair in fresco. p. 48.
ILXX The proportions which a perfectly formed man's body should possess. p. 48.
ILXXI The way to paint a drapery in fresco. p. 49
ILXXII The way to paint on a wall in secco; and the temperas for it. p. 50.
ILXXIII How to make a violet color. p. 52
ILXXIIII To execute a violet color in fresco. p. 52
ILXXV To try to imitate an ultramaine blue for use in fresco. p. 52.
ILXXVI To paint a purple or turnsole drapery in fresco. p. 53.
ILXXVII To paint a shot green drapery in fresco. p. 53.
ILXXVIII To paint in fresco a drapery shot with ash gray. p. 53.
ILXXVIIII To paint one in secco shot with lac. p. 53.
ILXXX To paint one in fresco or in secco shot with ocher. p. 54.
ILXXXI To paint a greenish-gray costume in fesco or in secco. p. 54.
ILXXXII To paint a costume, in fresco and in secco, of a greenish-gray color like the color of wood. P. 54.

ILXXXIII To make a drapery, or a mantle for Our Lady, with azurite or ultramarine blue. p. 54.
ILXXXIIII To make a black drapery for a monk's or fiar's robe, in fresco and in secco. p. 55.
ILXXXV On the way to paint a mountain, in fresco or in secco. p. 55.
ILXXXVI On the way to paint trees and plants and foliage, in fresco and in secco. p. 56.
ILXXXVII How buildings are to be painted, in fresco and in secco. p. 56.
ILXXXVIII The way to copy a mountain from nature. This ends the third section of this book. p. 57.

LXXXVIIII How to paint in oil on a wall, on panel, on iron, and where you please. p. 57
ILXXXX How you should start for working in oil on a wall. p. 57.
ILXXXXI How you are to make oil, good for a tempera, and also for mordants, by boiling with fire. p. 58.
ILXXXXII How good and perfect oil is made by cooking in the sun. p . 59.
ILXXXXIII How you should work up the colors with oil, and employ them on the wall. p. 59.
ILXXXXIIII How you should work in oil on iron, on panel, on stone. p. 60.
ILXXXXV The way to embellish with gold or with tin on a wall. p. 60.
ILXXXXVI How you should always make a practice of working with fine gold and with good colors. p. 60.
ILXXXXVII How you should cut the golden tin, and embellish. p. 61.
ILXXXXVIII How to make green tin for embellishing. p. 61.
ILXXXXVIIII How to make the golden tin, and how to lay fine gold with this vermeil. p. 61.
IC How to fashion or cut out the stars, and put them on the wall. p. 63.
ICI How you can make the diadems of the saints on the wall with this tin gilded with fine gold. p. 63

ICII How you should model up a diadem in lime mortar on a wall. p. 63.
ICIII How from the wall you enter upon panel-painting. This ends the fourth ssection of this book. p. 64.

CIIII The system by which you should prepare to acquire the skill to work on panel. p. 64.
ICV How you make batter or flour paste. p. 65.
ICVI How you should make cement for mending stones. p. 66.
ICVII How to make cement for mending dishes of glass. p. 66.
ICVIII How fish glue is used, and how it is tempered. p. 66.
ICVIIII How goat glue is made, and how it is tempered; and how many purposes it will serve. p. 67.
ICX A perfect size for tempering gessos for anconas or panels. p. 67.
ICXI A size which is good for tempering blues and other colors. p. 68.
ICXII To make a glue out of lime and cheese. This ends the fifth section of this book. p. 68.

CXIII How you should start to work on panel or anconas. p. 69.
ICXIIII How you should put cloth on a panel. p. 70.
ICXV How the flat of a panel should be gessoed with the slice with gesso grosso. p. 70.
ICXVI How to make the gesso sottile for gessoing panels. p. 71.
ICXVII How to gesso an ancona with gesso sottile; and how to temper it. p. 72.
ICXVIII How you may gesso with gesso sottile without having gessoed with gesso grosso first. p. 73.
ICXVIIII How you should temper and grind gesso sottile for modeling. p. 73.
ICXX How you should start to scrape down an ancona flat gessoed with gesso sottile. p. 74.
ICXXI How the gesso sottile on the flats should be scraped down, and what these scrapings are good for. p . 74.

CXXII How to draw on panel with charcoal, to begin with, and to fix it with ink. p. 75.
ICXXIII How you should mark out the outlines of the figures for gilding the grounds. p. 76.
ICXXIIII How to model on a panel with gesso sottile, and how to mount precious stones. p. 76.
ICXXV How you should cast a relief for embellising areas of anconas. p. 77.
ICXXVI How to plaster reliefs on a wall. p. 77.
ICXXVII How to model with mortar on a wall the way you model with gesso on panel. p. 78.
ICXXVIII How to take reliefs from a stone mold, and how they are good on wall and on panel. p. 78.
ICXXVIIII How you may model on a wall with varnish. p. 78.
ICXXX How you may model on a wall with wax. p. 78.
ICXXXI How to lay a bole on panel, and how to temper it. p. 79.
ICXXXII Another way to temper bole on panel, for gilding. p. 79.
ICXXXIII How you may gild on panel with terre-verte. p. 80
ICXXXIIII How to gild on panel. p. 80.
ICXXXV What stones are good for burnishing this gilding. p. 82.
ICXXXVI How to prepare the stone for burnising gold. p. 82.
ICXXXVII How you should burnish the gold, or mend matters in case it could not get burnished. p. 83.
ICXXXVIII Now I will show you how to burnish, and in what direction, especially a flat. p. 84.
ICXXXVIIII What gold is good for burnish and mordant gilding, and what thickness. p. 84.
ICXL How you should begin swinging the diadems and do stamping on the gold, and mark out the outlines of the figures. p. 85.

NOTE: The following chapter numbers and headings are not original to the Libro dell' Arte. The headings have been invented merely to serve as a running guide to the content of the text; the numbers are those attached to the chapters in the editions of Tambroni and the Milanesi, and are included here for convenience in locating references to those editions or to translations based upon them. [See Preface, p. xviii, above.]

Tambroni Milanesi
CXLI CXLI How to design gold brocades in various colors. p. 86.
ICXLII CXLII How to execute gold or silver brocades. p. 87.
ICXLIII CXLIII Several rules for cloths of gold and silver. p. 88.
ICXLIV CXLIV How to do velvet, wool, and silk. p. 89.
ICXLV CXLV How to paint on panel. p. 91.
ICXLVI CXLVI How to make draperies in blue and purple. p. 93.
ICXLVII CXLVII How to paint faces. p. 93.
ICXLVIII CXLVIII How to paint a dead man. p. 94.
ICXLIX CXLIX How to paint wounds. p. 95.
ICL CL How to paint water. p. 95.

ICLI CLI A Short section on mordant gilding. How to make a standard mordant, and how to gild with it. p. 96.

ICLII CLII How to control the drying of the mordant. p. 97.
ICLIII CLIII How to make a mordant out of garlic. p. 97.

CLIV CLIV Introduction to a short section on varnishing. p. 98
ICLV CLV When to varnish. p. 98.
ICLV CLV How to apply the varnish. p . 99.
ICLVI CLVI How to make a painting look as if it were varnished. p. 99.

CLVII CLVII A short section on illuminating: first to gild on parchment. p. 100.
ICLVIII CLVIII Another kind of size: for grounds only. p. 101.
ICLIX CLIX How to make and use mosaic gold. p. 101.
ICLIX (1) CLX How to grind gold and silver for use as colors. p. 102
---- CLXI Colors for use on parchment. p. 102.

---- CLXII A section dealing with work on cloth: first, painting and gilding. p. 103.
---- CLXIII Various ways to do hangings. p. 104.
---- CLXIV How to draw for embroiderers. p. 105.
---- CLXV How to work on silk, on both sides. p. 106.
---- CLXVI How to paint and gild on velvet. p. 107.
---- CLXVII How to lay gold and silver on woolen cloth. p. 107.
---- CLXVIII How to make devices out of gilded paper. p. 108.
---- CLXIX How to model crests or helmets. p. 108.
---- CLXX How to do caskets or chests. p. 109.

---- CLXXI A short section on operations with glass: first, for windows. p. 111.
---- CLXXII How to gild glass for reliquary ornaments. p. 112.
---- CLXXII Arrangements for drawing on this glass. p. 112.
---- CLXXII How to draw on the gilded glass. p. 113.
---- CLXXII How to scrape the gold off the backgrounds. p. 113.
---- CLXXII How to back up the drawing with colors. p. 113.

---- CLXXII Part of a section dealing with mosaic: first, a fragment from the end of a chapter otherwise lost. p. 114.

---- CLXXII Mosaic of quill cuttings. p. 114.
---- CLXXII Mosaic of crushed eggs shells, painted. p. 115.
---- CLXXII Mosaic of paper or foil. p. 115.
---- CLXXII Moasic of eggshells, gilded. p. 115.

---- CLXXIII A section dealing with miscellaneous incidental operations: first, block printing on cloth. p. 115.
---- CLXXIV How to gild a stone figure. p. 118.
---- CLXXV The dangers of a wet wall for fresco. p. 119.
---- CLXXV Preminary precautions against moisture. p. 120.
---- CLXXV Waterproofing with boiled oil. p. 120.
---- CLXXVI Waterproofing with pitch. p. 121.
---- CLXXVI Waterproofing with liquid varnish. p. 121.
---- CLXXVII How to distemper inside walls with green. p. 121.
CLX CLXXVIII How to varnish terre-verte. p. 122.
CLXI CLXXIX How to clean off the paint after you have made up a face. p. 122.
CLXII CLXXX The perils of indulgence in cosmetics. p. 123.

CLXIII CLXXXI The final section, devoted to methods of casting, begins here. p. 123.
CLXIV CLXXXII How to take a life mask. p. 124.
CLXV CLXXXIII The breathing tubes. p. 125.
CLXVI CLXXXIV The operations of casting the matrix. p. 126.
CLXVI CLXXXIV How to cast this waste mold. p. 126.
CLXVII CLXXXV How to cast whole figures. p. 127.
CLXVIII CLXXXVI How to make a cast of your own person. p. 129.
CLXIX CLXXXVII Castings in gesso for use on panel. p. 129.
CLXX CLXXXVIII How to cast medals. p. 130.
CLXXI CLXXXIX How to make a mold from a seal or coin. p. 130.

Index p. 133.
[Not included in this format]

(1) [NOTE: Tambroni CLX. This chapter in Tambroni's eiditon comprises also Cap. CLXXVIII fo the Milanesi's edition.



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