quinta-feira, 15 de fevereiro de 2007

O Livro da Arte, de Cennino Cennini

Il Libro dell Arte, concluído cerca de 1390 pelo italiano Cennini d'Andrea Cennini, discípulo indirecto de Giotto, é o tratado de pintura mais conhecido e divulgado. Publicado pela primeira vez em 1821, a ele se deve grande parte do que sabemos sobre a pintura italiana do século XIV.

Na Internet estão livremente disponíveis as seguintes edições (todas em texto):

  • 1859, edição em italiano de Gaetano Milanesi e Carlo Milanesi: aqui, aqui e aqui
  • 1933, tradução em inglês de Daniel V. Thompson: aqui

Índice da edição em inglês:

  1. The first chapter of the first section of this book
  2. How some enter the profession through loftiness of spirit, and some, for profit
  3. Fundamental provisions for anyone who enters this profession
  4. How the schedule shows you into how many sections and branches the occupations are divided
  5. How you begin drawing on a little panel; and the system for it
  6. How to draw on several kinds of panels
  7. What kind of bone is good for treating the panels
  8. How you should start drawing with a style, and by what light
  9. How you should give the system of lighting, light or shade, to your figures, endowing them with a system of relief
  10. The method and system for drawing on sheep parchment and on paper, and shading with washes
  11. How you may draw with a leaden style
  12. How, if you have made a slip in drawing with the leaden style, you may erase it, and by what means
  13. How you should paractice drawing with a pen
  14. How to learn to cut the quill for drawing
  15. How you should advance to drawing on tinted paper
  16. How the green tint is made on paper for drawing; and the way to temper it
  17. How you should tint kid parchment, and by which method you burnish it
  18. How you should tint paper turnsole color
  19. How you should tint paper with an indigo tint
  20. How you should tint papers with reddish color, or almost peach color
  21. How you should tint papers with flesh color
  22. How you should tint papers greenish gray, or drab
  23. How you may obtain the essence of a good figure or drawing with tracing paper
  24. The first way to learn how to make a clear tracing paper
  25. A second way to make tracing paper: with glue
  26. How to make tracing paper out of paper
  27. How you should endeavor to copy and draw after as few masters as possible
  28. How, beyond masters, you should constantly copy from nature with steady practice
  29. 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
  30. How you should first start drawing on paper with charcoal, and take the measurement of the figure, and fix it with a silver style
  31. How you should draw and shade with washes on tinted paper, and them put lights on with white lead
  32. How you may put on lights with washes of white lead just as you shade with washes of ink
  33. How to make good and perfect and slender coals for drawing
  34. About a stone which has the character of charcoal for drawing. This ends the first section of this book
  35. The secnd section of this book: bringing you to the working up of the colors
  36. This shows you the natural colors, and how you should grind black
  37. How to make various sorts of black
  38. On the character of the red color called sinoper
  39. How to make the red called cinabrese, for doing flesh on the wall; and about its character
  40. On the character of the red called vermilion; and how it should be worked up
  41. On the character of a red called red lead
  42. On the character of a red called hematite
  43. On the character of a red called dragonsblood
  44. On the character of a red called lac
  45. On the character of a yellow color called ocher
  46. On the character of a yellow color called giallorino
  47. On the character of a yellow called orpiment
  48. On the character of a yellow which is called realgar
  49. On the character of a yellow called saffron
  50. On the character of a yellow called arzica
  51. On the character of a green called terre-verte
  52. On the character of a green called malachite
  53. How you make a green with orpiment and indigo
  54. How you make a green with blue and giallorino
  55. How you make a green with ultramarine blue
  56. On the character of a green called verdigris
  57. How you make a green with white lead and terre-verte; or lime white
  58. On the character of lime white
  59. On the character of white lead
  60. On the character of azurite
  61. To make an imitation of azurite with other colors
  62. On the character of ultramarine blue, and how to make it
  63. The importance of knowing how to make brushes
  64. How to make minever brushes
  65. How you should make bristle brushes, and in what manner
  66. How to keep minever tails from getting moth-eaten. This ends the second section of this book; begins the third
  67. The method and system for working on a wall, that is, in fresco ; and on painting and doing flesh for a youthful face
  68. The method for painting an aged face in fresco
  69. The method for painting various kinds of beards and hair in fresco
  70. The proportions which a perfectly formed man's body should possess
  71. The way to paint a drapery in fresco
  72. The way to paint on a wall in secco; and the temperas for it
  73. How to make a violet color
  74. To execute a violet color in fresco
  75. To try to imitate an ultramaine blue for use in fresco
  76. To paint a purple or turnsole drapery in fresco
  77. To paint a shot green drapery in fresco
  78. To paint in fresco a drapery shot with ash gray
  79. To paint one in secco shot with lac
  80. To paint one in fresco or in secco shot with ocher
  81. To paint a greenish-gray costume in fesco or in secco
  82. To paint a costume, in fresco and in secco, of a greenish-gray color like the color of wood
  83. To make a drapery, or a mantle for Our Lady, with azurite or ultramarine blue
  84. To make a black drapery for a monk's or fiar's robe, in fresco and in secco
  85. On the way to paint a mountain, in fresco or in secco
  86. On the way to paint trees and plants and foliage, in fresco and in secco
  87. How buildings are to be painted, in fresco and in secco
  88. The way to copy a mountain from nature. This ends the third section of this book
  89. How to paint in oil on a wall, on panel, on iron, and where you please
  90. How you should start for working in oil on a wall
  91. How you are to make oil, good for a tempera, and also for mordants, by boiling with fire
  92. How good and perfect oil is made by cooking in the sun. p . 59.
  93. How you should work up the colors with oil, and employ them on the wall
  94. How you should work in oil on iron, on panel, on stone
  95. The way to embellish with gold or with tin on a wall
  96. How you should always make a practice of working with fine gold and with good colors
  97. How you should cut the golden tin, and embellish
  98. How to make green tin for embellishing
  99. How to make the golden tin, and how to lay fine gold with this vermeil
  100. How to fashion or cut out the stars, and put them on the wall
  101. How you can make the diadems of the saints on the wall with this tin gilded with fine gold
  102. How you should model up a diadem in lime mortar on a wall
  103. How from the wall you enter upon panel-painting. This ends the fourth ssection of this book
  104. The system by which you should prepare to acquire the skill to work on panel
  105. How you make batter or flour paste
  106. How you should make cement for mending stones
  107. How to make cement for mending dishes of glass
  108. How fish glue is used, and how it is tempered
  109. How goat glue is made, and how it is tempered; and how many purposes it will serve
  110. A perfect size for tempering gessos for anconas or panels
  111. A size which is good for tempering blues and other colors
  112. To make a glue out of lime and cheese. This ends the fifth section of this book
  113. How you should start to work on panel or anconas
  114. How you should put cloth on a panel
  115. How the flat of a panel should be gessoed with the slice with gesso grosso
  116. How to make the gesso sottile for gessoing panels
  117. How to gesso an ancona with gesso sottile; and how to temper it
  118. How you may gesso with gesso sottile without having gessoed with gesso grosso first
  119. How you should temper and grind gesso sottile for modeling
  120. How you should start to scrape down an ancona flat gessoed with gesso sottile
  121. How the gesso sottile on the flats should be scraped down, and what these scrapings are good for. p . 74.
  122. How to draw on panel with charcoal, to begin with, and to fix it with ink
  123. How you should mark out the outlines of the figures for gilding the grounds
  124. How to model on a panel with gesso sottile, and how to mount precious stones
  125. How you should cast a relief for embellising areas of anconas
  126. How to plaster reliefs on a wall
  127. How to model with mortar on a wall the way you model with gesso on panel
  128. How to take reliefs from a stone mold, and how they are good on wall and on panel
  129. How you may model on a wall with varnish
  130. How you may model on a wall with wax
  131. How to lay a bole on panel, and how to temper it
  132. Another way to temper bole on panel, for gilding
  133. How you may gild on panel with terre-verte
  134. How to gild on panel
  135. What stones are good for burnishing this gilding
  136. How to prepare the stone for burnising gold
  137. How you should burnish the gold, or mend matters in case it could not get burnished
  138. Now I will show you how to burnish, and in what direction, especially a flat
  139. What gold is good for burnish and mordant gilding, and what thickness
  140. How you should begin swinging the diadems and do stamping on the gold, and mark out the outlines of the figures
  141. How to design gold brocades in various colors
  142. How to execute gold or silver brocades
  143. Several rules for cloths of gold and silver
  144. How to do velvet, wool, and silk
  145. How to paint on panel
  146. How to make draperies in blue and purple
  147. How to paint faces
  148. How to paint a dead man
  149. How to paint wounds
  150. How to paint water
  151. A Short section on mordant gilding. How to make a standard mordant, and how to gild with it
  152. How to control the drying of the mordant
  153. How to make a mordant out of garlic
  154. Introduction to a short section on varnishing
  155. When to varnish
  156. How to apply the varnish. p . 99.
  157. How to make a painting look as if it were varnished
  158. A short section on illuminating: first to gild on parchment
  159. Another kind of size: for grounds only
  160. How to make and use mosaic gold
  161. How to grind gold and silver for use as colors
  162. Colors for use on parchment
  163. A section dealing with work on cloth: first, painting and gilding
  164. Various ways to do hangings
  165. How to draw for embroiderers
  166. How to work on silk, on both sides
  167. How to paint and gild on velvet
  168. How to lay gold and silver on woolen cloth
  169. How to make devices out of gilded paper
  170. How to model crests or helmets
  171. How to do caskets or chests
  172. A short section on operations with glass: first, for windows
  173. How to gild glass for reliquary ornaments
  174. Arrangements for drawing on this glass
  175. How to draw on the gilded glass
  176. How to scrape the gold off the backgrounds
  177. How to back up the drawing with colors
  178. Part of a section dealing with mosaic: first, a fragment from the end of a chapter otherwise lost
  179. Mosaic of quill cuttings
  180. Mosaic of crushed eggs shells, painted
  181. Mosaic of paper or foil
  182. Moasic of eggshells, gilded
  183. A section dealing with miscellaneous incidental operations: first, block printing on cloth
  184. How to gild a stone figure
  185. The dangers of a wet wall for fresco
  186. Preminary precautions against moisture
  187. Waterproofing with boiled oil
  188. Waterproofing with pitch
  189. Waterproofing with liquid varnish
  190. How to distemper inside walls with green
  191. How to varnish terre-verte
  192. How to clean off the paint after you have made up a face
  193. The perils of indulgence in cosmetics
  194. The final section, devoted to methods of casting, begins here
  195. How to take a life mask
  196. The breathing tubes
  197. The operations of casting the matrix
  198. How to cast this waste mold
  199. How to cast whole figures
  200. How to make a cast of your own person
  201. Castings in gesso for use on panel
  202. How to cast medals
  203. How to make a mold from a seal or coin


Anónimo :

gostaria de saber se existe alguma tradução deste livro em portugues?

Comentário de António João Cruz :

Nem em Portugal, nem no Brasil, não conheço nenhuma edição em português.

mr :

Caro Professor

Existe uma tradução em castelhano integrada nos "Manuales Messeguer", cuja tradução, prólogo e notas são da responsabilidade de F.Pérez-Dolz -Prof. da Escola das Artes e Ofícios Artísticos e de Belas Artes de San Jorge, Barcelona
Sucesor de E.Messeguer, Editor Rosellón, 76 - Barcelona
Melhores Cumprimentos
Porto, Out.2007