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