The Fabrication of Leonardo da Vinci's "Trattato della Pittura": With a Scholarly Edition of the "editio princeps" (1651) and an Annotated English Translation. Vol. 1-2

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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. 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