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The Fabrication of Leonardo da Vinciâs Trattato della pittura (2 vols.)
With a Scholarly Edition of the Italian editio princeps (1651) and an Annotated English Translation
Series: - Brill's Studies in Intellectual History, Volume: 263/18
- Brill's Studies on Art, Art History, and Intellectual History, Volume: 263/18
The basis for our understanding of Leonardoâs 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 artistâs theory. What emerges is a rich cultural and textual history that foregrounds the transmission of artisanal knowledge from Leonardoâs workshop in the Duchy of Milan to Carlo Borromeoâs Milan, Cosimo I deâ Mediciâs Florence, Urban VIIIâs Rome, and Louis XIVâs Paris.
Claire Farago (Ph.D., 1988) is Professor of Renaissance Art, Theory, and Criticism at the University of Colorado Boulder. Her books include Leonardo da Vinciâs Paragone (1992); Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650 (1995); Leonardo da Vinci: Selected Scholarship in English, 5 vols. (1999); Leonardo da Vinci and the Ethics of Style (2008); Re-Reading Leonardo: The Treatise on Painting across Europe 1550-1900 (2009); and Art Is Not What You Think It Is, co-authored with Donald Preziosi (2012).
Janis Bell (Ph.D., 1983) is an independent scholar. She has published widely on early modern art and art theory, particularly on Leonardo da Vinci, Matteo Zaccolini, Raphael, Caravaggio, Cassiano dal Pozzo, and on the legacy of ancient and medieval optical theory. She is contributing co-editor (with Thomas Willette) of Art History in the Age of Bellori (2002).
Carlo Vecce (Ph.D., 1986) is Professor of Italian Studies at the University of Naples âLâOrientale.â He is a widely published scholar of Italian literature and Renaissance culture. He is co-author of the critical edition of Leonardoâs Book on Painting (1995); editor of the Codex Arundel (1998); and author of a biography of Leonardo (1998; rev. ed. 2006), which has been translated into several languages.
Janis Bell (Ph.D., 1983) is an independent scholar. She has published widely on early modern art and art theory, particularly on Leonardo da Vinci, Matteo Zaccolini, Raphael, Caravaggio, Cassiano dal Pozzo, and on the legacy of ancient and medieval optical theory. She is contributing co-editor (with Thomas Willette) of Art History in the Age of Bellori (2002).
Carlo Vecce (Ph.D., 1986) is Professor of Italian Studies at the University of Naples âLâOrientale.â He is a widely published scholar of Italian literature and Renaissance culture. He is co-author of the critical edition of Leonardoâs Book on Painting (1995); editor of the Codex Arundel (1998); and author of a biography of Leonardo (1998; rev. ed. 2006), which has been translated into several languages.
âmonumentalâ [â¦] âa masterpiece of primary source publicationâ.
Anthony Colantuono, University of Maryland. In: The Burlington Magazine, Vol. 161, No. 1397 (August 2019), pp. 693-695.
âThis edition reaches â without any doubt â one of the highest peaks in the history of the scholarly-oriented investigations thus far devoted to Leonardoâs teachings and writings [â¦]. A truly exceptional achievement.â
Ricardo De Mambro Santos, Willamette University. In: Journal of Art Historiography, Vol. 21 (December 2019).
âA truly remarkable publication: a publication that not only marks a turning point in the studies dedicated to Leonardo da Vinci and the narratives of his intertwined textual migrations, but also offers a collection of essays that will most certainly become, from now on, indispensable for any future research in the field.â
Ricardo De Mambro Santos, Willamette University. In: Renaissance Quarterly, Vol. 73 , No 4 (Winter 2020), pp. 1339â1341.
Anthony Colantuono, University of Maryland. In: The Burlington Magazine, Vol. 161, No. 1397 (August 2019), pp. 693-695.
âThis edition reaches â without any doubt â one of the highest peaks in the history of the scholarly-oriented investigations thus far devoted to Leonardoâs teachings and writings [â¦]. A truly exceptional achievement.â
Ricardo De Mambro Santos, Willamette University. In: Journal of Art Historiography, Vol. 21 (December 2019).
âA truly remarkable publication: a publication that not only marks a turning point in the studies dedicated to Leonardo da Vinci and the narratives of his intertwined textual migrations, but also offers a collection of essays that will most certainly become, from now on, indispensable for any future research in the field.â
Ricardo De Mambro Santos, Willamette University. In: Renaissance Quarterly, Vol. 73 , No 4 (Winter 2020), pp. 1339â1341.
Volume 1
List of Illustrations
Foreword
Martin Kemp
Preface and Acknowledgments
List of Manuscript Abbreviations
List of Frequently Cited Sources
Introduction: Defining a Historical Approach to Leonardoâs Trattato della pittura
Claire Farago
MILAN
1. Before the Trattato: Philological Notes on the Libro di pittura in the Codex Urbinas 1270
Carlo Vecce
2. Leonardoâs Workshop Procedures and the Trattato della pittura
Claire Farago
Introduction
Part One: The Optics of Painting in Leonardoâs Workshop and the Trattato
Part Two: The Training of the Artist and the Trattato
Part Three: The Mechanics of Human Movement in the Trattato
3. Leonardoâs Lost Book on Painting and Human Movements
Matthew Landrus
URBINO
4. On the Origins of the Trattato and the Earliest Reception of the Libro di pittura
Claire Farago
FLORENCE
5. The Earliest Abridged Copies of the Libro di pittura in Florence
Anna Sconza
ROME TO PARIS
6. Seventeenth-Century Transformations: Cassiano dal Pozzoâs Manuscript Copy of the Abridged Libro di pittura Treatise on Painting
Juliana Barone
7. The Final Text
Janis Bell
Part One: Raphaël Trichet du Fresne as Textual Editor
Part Two: Charles Errard and the Illustrations
In Appendice
The Visual Imagery of the Printed Editions of Leonardoâs Treatise on Painting
Mario Valentino Guffanti
Volume 2
Text of the Trattato della pittura
Editorial Procedures
Introduction: Claire Farago and Janis Bell
Editorial Criteria for the Transcription: Maria Rascaglia
Establishing the Text of 1651: Claire Farago and Janis Bell
Abbreviations Used in the Critical Apparatus
Table of Contents of Trattato Chapters
Transcription with Critical Apparatus: Carlo Vecce, Maria Rascaglia, and
Anna Sconza
English Translation: Janis Bell and Claire Farago
Readerâs Notes
Introduction: Janis Bell
Readerâs Notes by Chapter: Janis Bell and Claire Farago
Sources Cited in the Readerâs Notes
Primary Sources
Secondary Sources
In appendice
A. Brooker 1: Janis Bell
B. MS A, LdP, and ITAL 1651: Claire Farago
C. Organization of the Trattato della pittura: Claire Farago
D. Omissions, Trattato and LdP: Claire Farago
E. Variants in the Early Florentine Manuscripts: Anna Sconza
F. Leonardoâs Library: Claire Farago
List of Illustrations
Foreword
Martin Kemp
Preface and Acknowledgments
List of Manuscript Abbreviations
List of Frequently Cited Sources
Introduction: Defining a Historical Approach to Leonardoâs Trattato della pittura
Claire Farago
MILAN
1. Before the Trattato: Philological Notes on the Libro di pittura in the Codex Urbinas 1270
Carlo Vecce
2. Leonardoâs Workshop Procedures and the Trattato della pittura
Claire Farago
Introduction
Part One: The Optics of Painting in Leonardoâs Workshop and the Trattato
Part Two: The Training of the Artist and the Trattato
Part Three: The Mechanics of Human Movement in the Trattato
3. Leonardoâs Lost Book on Painting and Human Movements
Matthew Landrus
URBINO
4. On the Origins of the Trattato and the Earliest Reception of the Libro di pittura
Claire Farago
FLORENCE
5. The Earliest Abridged Copies of the Libro di pittura in Florence
Anna Sconza
ROME TO PARIS
6. Seventeenth-Century Transformations: Cassiano dal Pozzoâs Manuscript Copy of the Abridged Libro di pittura Treatise on Painting
Juliana Barone
7. The Final Text
Janis Bell
Part One: Raphaël Trichet du Fresne as Textual Editor
Part Two: Charles Errard and the Illustrations
In Appendice
The Visual Imagery of the Printed Editions of Leonardoâs Treatise on Painting
Mario Valentino Guffanti
Volume 2
Text of the Trattato della pittura
Editorial Procedures
Introduction: Claire Farago and Janis Bell
Editorial Criteria for the Transcription: Maria Rascaglia
Establishing the Text of 1651: Claire Farago and Janis Bell
Abbreviations Used in the Critical Apparatus
Table of Contents of Trattato Chapters
Transcription with Critical Apparatus: Carlo Vecce, Maria Rascaglia, and
Anna Sconza
English Translation: Janis Bell and Claire Farago
Readerâs Notes
Introduction: Janis Bell
Readerâs Notes by Chapter: Janis Bell and Claire Farago
Sources Cited in the Readerâs Notes
Primary Sources
Secondary Sources
In appendice
A. Brooker 1: Janis Bell
B. MS A, LdP, and ITAL 1651: Claire Farago
C. Organization of the Trattato della pittura: Claire Farago
D. Omissions, Trattato and LdP: Claire Farago
E. Variants in the Early Florentine Manuscripts: Anna Sconza
F. Leonardoâs Library: Claire Farago
All interested in Leonardo da Vinci, art academies, artisanal epistemologies, Early Modern art theory, the concept of art, intellectual history, Italian studies, cultural exchange within Europe and in the Mediterranean.