With a foreword by Martin Kemp, and additional contributions by Juliana Barone, Matthew Landrus, Maria Rascaglia, Anna Sconza and Mario Valentino Guffanti.
The basis for our understanding of Leonardo’s theory of art was, for over 150 years, his 'Treatise on Painting', which was issued in 1651 in Italian and French. This present volume offers both the first scholarly edition of the Italian 'editio princeps' as well as the first complete English translation of this seminal work. In addition, it provides a comprehensive study of the Italian first edition, documenting how each editorial campaign that lead to it produced a different understanding of the artist’s theory. What emerges is a rich cultural and textual history that foregrounds the transmission of artisanal knowledge from Leonardo’s workshop in the Duchy of Milan to Carlo Borromeo’s Milan, Cosimo I de’ Medici’s Florence, Urban VIII’s Rome, and Louis XIV’s Paris.
Author(s): Claire Farago, Janis Bell, Carlo Vecce
Series: Brill’s Studies in Intellectual History, 263. Brill’s Studies on Art, Art History, and Intellectual History, 18
Publisher: Brill
Year: 2018
Language: English
Pages: 1372
City: Leiden
Foreword
Preface
A Note to the Reader
Acknowledgments
List of Contributors
List of Illustrations
Manuscript Abbreviations
Frequently Cited Sources
Introduction: Defining a Historical Approach to Leonardo’s 'Trattato della pittura'
On the Sponsorship of Prints
The Dedication to Queen Christina of Sweden
What Happened before 1640?
How Did the Trattato Project Originate?
Zaccolini’s Contribution to Dal Pozzo’s Project
When the Project Moved to France in 1640
The Trattato and the Académie royale
Production Values in the Printed Editions of 1651
The Broad Political Picture
The Trattato at the French Academy in 1651
Milan
Chapter 1. Before the Trattato: Philological Notes on the 'Libro di pittura' in the Codex Urbinas 1270
Chapter 2. Leonardo’s Workshop Procedures and the 'Trattato della pittura'
Introduction
Part One: The Optics of Painting in Leonardo’s Workshop and the 'Trattato'
Theory in the Workshop
The Evidence in the Virgin of the Rocks
Text-Based Collaboration in the Workshop
From Workshop to the 'Trattato della pittura'
Part Two: The Training of the Artist and the 'Trattato'
The 'Libro di pittura' as a Modern Workshop Manual
The Humanist Legacy of Artisanal Epistemologies
The Seventeenth-Century Legacy and Beyond
The Purpose of Illusion in Sacred Painting
Part Three: The Mechanics of Human Movement in the 'Trattato'
The Passages on Human Movement
Publishing in the Tridentine Era
Melzi’s Role in Milan and Aristocratic Pleasures
The Organization of the Abridged 'Libro di pittura'
Artisanal Epistemology and the Education of Artists
Anatomical Studies in the Later Sixteenth Century
Art Schools in Post-Tridentine Times
Drawing Manuals and the Reform of Artistic Education
Federico Zuccaro’s Opinion of Leonardo’s 'Treatise on Painting'
Chapter 3. Leonardo’s Lost Book on Painting and Human Movements
Carlo Urbino's 'Regole del disegno'
'Regole', Books 1–3
'Regole', Books 4–5
Appendix
Urbino
Chapter 4. On the Origins of the 'Trattato' and the Earliest Reception of the 'Libro di pittura'
When Did the Abridgment Take Place?
The Duke of Urbino and His Library
The Duke’s Ties with the Caracciolini
The Duke’s Library as a Setting for the 'Libro di pittura'
Who Wanted to Publish the 'Treatise on Painting'?
What Does It Mean for Art to Be 'Artless'?
The Manuscript Evidence in Historical Context
The Abridged Text: What was Retained
The Abridged 'Libro di pittura' as a Catholic Reformation Text
Florence
Chapter 5. The Earliest Abridged Copies of the 'Libro di pittura' in Florence
The Reception of Leonardo’s Writings ca. 1570–1580
MSS in Florentine Libraries
The Critical Variants in Four Florentine Copies
The Illustrations of the Florentine Copies
Conclusions
Rome to Paris
Chapter 6. Seventeenth-Century Transformations: Cassiano dal Pozzo’s Manuscript Copy of the Abridged 'Libro di pittura'
The Roman Context
The Abridged Libro Text in Rome: Sources and Search for Accuracy
Additional Material from Milan
Poussin’s Illustrations: A New Visual Message
The 'Imperfect' Text and Poussin’s Figures in Paris
Chapter 7. The Final Text
Part One: Raphaël Trichet du Fresne as Textual Editor
Chapter 49: A Case Study in the Transformation of a Text
Coordinating with Fréart de Chambray
Differences in the Texts
The Marginal Emendations to s1
Who Wrote the Textual Emendations?
Textual Indications that Brooker 1 was Known
Illustrations and Diagrams
MS Brooker 1 in France
Du Fresne’s Use of Various Manuscripts
The Thévenot Manuscript
A Textual Editor with a Vision
Part Two: Charles Errard and the Illustrations
Overview of Errard’s Contributions
The Origin of Errard’s Involvement
The Engravers
The Parallele and the 'Trattato' Engravings
Errard and Poussin
Poussin’s Concetto
The Greek Style
On Preparing to Release Force
Errard’s Revision
Landscape Engravings and the Diagrams
The Drapery Engravings
In appendice
The Visual Imagery of the Printed Editions of Leonardo’s 'Treatise on Painting'
Notes
'Trattato della pittura', 1651
Editorial Procedures
Introduction
Editorial Criteria for the Italian Text
Establishing the Text of 1651
Abbreviations and Principal Terms in the Critical Apparatus
Notes
Chapters in This Treatise
Italian Text
English Translation
Reader’s Notes
Introduction to the Reader’s Notes
Reader’s Notes by Chapter
Sources Cited in the Reader’s Notes
Primary Sources Cited in the Reader’s Notes
Secondary Sources Cited in the Reader’s Notes
In appendice
Appendix A. Brooker 1
Appendix B. Distribution of MS A in LdP and ITAL 1651
Appendix C. Organization of the 'Trattato della pittura', 1651
Appendix D. The abridged text of the 'Libro di pittura', c. 1570
Appendix E. Variants in the Early Florentine Manuscripts
Appendix F. Leonardo’s Library
Index
