The Fabrication of Leonardo Da Vinci's Trattato Della Pittura (2 Vols. ) : With a Scholarly Edition of the Italian Editio Princeps (1651) and an Annotated English Translation.

Intro -- Contents -- 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.

This first complete English translation, including over 250 full-color images, is a longitudinal cultural history of how art came to be institutionalized in the history of western representational practices.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.