Fifteenth-century handbook, written by a working artist of the day, reveals techniques of the masters in drawing, oil painting, frescoes, panel painting, gilding, casting, more. Direct link to artists of Middle Ages.

A Translated version of the Art of Cennino Cennini. A contemporary practical treatise on Quattrocento Painting, including notes on medieval methods, and early explanations of oil painting and other techniques.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 edition. Excerpt: ... THE PEDIGREE OF THE 'TRATTATO' The derivation of Giotto's school from 'Greek' sources which is apparent in the paintings themselves is supported by the internal evidence of the Trattato, that is, by its close family likeness to other 'Greek' or Byzantine manuals. Giotto's art was the stirring of the soul in forms which had been sleeping for centuries. The detailed account given by Vasari of the Greek painters invited to Florence by the governors of the city, who inspired the young Cimabue, afterwards Giotto's master, has so far received no authentication from documents, but is not therefore proved false. No work which can with certainty be ascribed to Cimabue is known,1 but he may have occupied a place in Florentine art similar to that of Duccio in Sienese painting, who, though a contemporary of Giotto (he died 1339, and Giotto 1336), is much nearer to the Byzantine manner than Giotto. "Duccio must have got his training from some Byzantine master, perhaps at Constantinople itself. Whoever and wherever this master was, he must have been imbued with the feelings of that extraordinary revival of antique art which began at 1 "Lectures on the National Gallery, ' J. P. Richter. b Byzantium in the ninth and lasted on into the thirteenth century."1 Giotto did not suddenly evoke an entirely new art. He was the child of the best Byzantine art, the young son of an old mother, able in a freer atmosphere, unfettered by the trammels imposed by the Eastern Church, to inspire with the truth of life the old types and picture-schemes while retaining his inheritance of classic dignity. He inherited ideality, the art of composing within a given space--a knowledge of grace, of posing, of proportion. He added to this a convincing reality and truthfulness of...