In the before times, I explained how Fiore talked about fencing the way shopkeepers talked about their wares and armed men talked about armour. But this is just one example of how his language comes out of a world of shops and skilled workers who judged each other by their skills and business practices. Here is another example from a painter’s manual (medieval books on painting are very similar to medieval books on fencing).
Lara Broecke, Cennino Cennini’s Il Libro dell’Arte: A New English Translation and Commentary with Italian Transcription (Archetype Publications: London, 2015) ISBN-13 978-1909492288
This summer I am reproducing some ancient shields, and since most face-to-face classes where I live are still closed, I am turning to the best possible teachers: Theophilius (fl. around 1100 CE) and Cennino Cennini (fl. around 1400 CE). Theophilius and Cennino teach almost everything you need to prepare a shield (or a panel) for painting.
The standard way to access Cennini is through three books published by Daniel V. Thompson around 1930 (an Italian text, a translation titled The Craftsman’s Handbook, and a practical handbook called The Practice of Tempera Painting). Lara Broecke has recently published a new edition, translation, and commentary of Cennini. These are thorough and scholarly and synthesize the past 85 years of art-technological research. If you want to know the chemical composition of Cennini’s gesso grosso plaster or giallorino pigment, look here. But Broecke distances herself from people who read Cennini as a textbook (pp. 1, 13, 305). Cennini was not a very good writer, his book may have been incomplete when he died, and none of the surviving copies of his work is a perfect representation of what he wrote. To understand why the old translations and editors of Cennini’s Book of the Art have the quirks which they have, lets turn to the Italian independent scholar Giovanni Mazzaferro: