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The Craftsman's Handbook: "Il Libro dell' Arte"
"Obviously of great merit." — Art Material Trade News. Fifteenth-century handbook, written by a working artist of the day, reveals secrets and techniques of the masters in drawing, oil painting, frescoes, panel painting, gilding, casting, more. Direct link to artists of the Middle Ages. Translation and Introduction by D. V. Thompson. "Delightful flavor..." — N.Y. Herald Tribune.
142 pages, Paperback
First published January 1, 1437
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About the author
Cennino Cennini
16 books3 followersFrom Wikipedia:
Cennino d'Andrea Cennini (c. 1360 – before 1427) was an Italian painter influenced by Giotto. He was a student of Agnolo Gaddi in Florence. Gaddi trained under his father, called Taddeo Gaddi, who trained with Giotto.
Cennini was born in Colle di Val d'Elsa, Tuscany. After training as an artist with Agnolo Gaddi in Florence he worked at the court of Francesco Novello da Carrara in Padua for some years before apparently returning to Colle di Val d'Elsa.
He is remembered mainly for having authored Il libro dell'arte. Thought to have been written around the turn of the 15th century, the book is a "how to" on late Medieval and early Renaissance painting. It contains information on pigments, brushes, drawing, panel painting, the art of fresco, painting on fabrics and casting, amongst other techniques and tricks. Cennini also mentions oil painting in passing, which was important for dispelling the myth, propagated by Giorgio Vasari and Karel Van Mander, that oil painting was invented by Jan van Eyck (although Theophilus (Roger of Helmerhausen) clearly gives instructions for oil-based painting in his treatise, On Divers Arts, written in 1125).
The dates of Cennini's life are highly speculative. It is often falsely assumed that he was alive in 1437 because that date appears on the earliest of the four extant copies of his manuscript. However, an administrative document from Colle di Val d'Elsa dated 1427 probably refers to his son; if this is the case then the document makes it clear that Cennini was dead by this time. The techniques Cennini describes range from ones which were already in use in the 13th century to ones which were innovative in the late fourteenth century. However, there is no evidence in his writing of the exciting developments in oil painting taking place in the early 15th century, suggesting that his book was written not long after the turn of the century.
The extent to which Cennini intended to provide a practical handbook for the apprentice painter is disputed. Some scholars believe that his book was a presentation book or a guild book instead. Along with technical methods, Cennini offered advice on the sort of lifestyle to which a young painter should subscribe.
Your life should be arranged just as if you were studying theology, or philosophy, or other disciplines, that is to say, eating and drinking moderately, at least twice a day, electing digestible and wholesome dishes, and light wines; saving and sparing your hand, preserving it from such strains as heaving stones, crowbars, and many other things which are bad for your hand, from giving them a chance to weary it. There is another cause which, if you indulge it, can make your hand so unsteady that it will waver more, and flutter far more, than leaves do in the wind, and this is indulging too much in the company of women.
According to Victoria Finlay, in her book Colour: Travels Through The Paintbox, the infamous UK forger, Eric Hebborn was greatly influenced by Cennino Cennini. The last book Hebborn wrote before he was brutally murdered was The Art Forger's Handbook. Finlay writes that he "used and adapted Cennino's advice extensively - preparing panels, tinting papers different colours, and making brand new works look as if they had been varnished some time before (by beating egg-white, left overnight and then applying it with a brush), just as the master advised."
Editions and translations
Cennini, Cennino (1821). Giuseppe Tambroni (ed.). Trattato della Pittura. Rome: Torchi di Paolo Salviucci.
Cennini's Treatise of Painting - was translated by Mary Philadelphia Merrifield in 1844.[1]
Broecke, L. (tr. and ed.) (2015) Cennino Cennini, Il libro dell'arte. London: Archetype. [Transcription and English translation].
Frezzato, F. (ed.) (2006) Cennino Cennini, Il Libro dell’Arte, Vicenza: Neri Pozza. [Edition of the Italian]; his Cennino Cennini's Il Libro dell'Arte. A new English translation and commentary with Ita
Cennino d'Andrea Cennini (c. 1360 – before 1427) was an Italian painter influenced by Giotto. He was a student of Agnolo Gaddi in Florence. Gaddi trained under his father, called Taddeo Gaddi, who trained with Giotto.
Cennini was born in Colle di Val d'Elsa, Tuscany. After training as an artist with Agnolo Gaddi in Florence he worked at the court of Francesco Novello da Carrara in Padua for some years before apparently returning to Colle di Val d'Elsa.
He is remembered mainly for having authored Il libro dell'arte. Thought to have been written around the turn of the 15th century, the book is a "how to" on late Medieval and early Renaissance painting. It contains information on pigments, brushes, drawing, panel painting, the art of fresco, painting on fabrics and casting, amongst other techniques and tricks. Cennini also mentions oil painting in passing, which was important for dispelling the myth, propagated by Giorgio Vasari and Karel Van Mander, that oil painting was invented by Jan van Eyck (although Theophilus (Roger of Helmerhausen) clearly gives instructions for oil-based painting in his treatise, On Divers Arts, written in 1125).
The dates of Cennini's life are highly speculative. It is often falsely assumed that he was alive in 1437 because that date appears on the earliest of the four extant copies of his manuscript. However, an administrative document from Colle di Val d'Elsa dated 1427 probably refers to his son; if this is the case then the document makes it clear that Cennini was dead by this time. The techniques Cennini describes range from ones which were already in use in the 13th century to ones which were innovative in the late fourteenth century. However, there is no evidence in his writing of the exciting developments in oil painting taking place in the early 15th century, suggesting that his book was written not long after the turn of the century.
The extent to which Cennini intended to provide a practical handbook for the apprentice painter is disputed. Some scholars believe that his book was a presentation book or a guild book instead. Along with technical methods, Cennini offered advice on the sort of lifestyle to which a young painter should subscribe.
Your life should be arranged just as if you were studying theology, or philosophy, or other disciplines, that is to say, eating and drinking moderately, at least twice a day, electing digestible and wholesome dishes, and light wines; saving and sparing your hand, preserving it from such strains as heaving stones, crowbars, and many other things which are bad for your hand, from giving them a chance to weary it. There is another cause which, if you indulge it, can make your hand so unsteady that it will waver more, and flutter far more, than leaves do in the wind, and this is indulging too much in the company of women.
According to Victoria Finlay, in her book Colour: Travels Through The Paintbox, the infamous UK forger, Eric Hebborn was greatly influenced by Cennino Cennini. The last book Hebborn wrote before he was brutally murdered was The Art Forger's Handbook. Finlay writes that he "used and adapted Cennino's advice extensively - preparing panels, tinting papers different colours, and making brand new works look as if they had been varnished some time before (by beating egg-white, left overnight and then applying it with a brush), just as the master advised."
Editions and translations
Cennini, Cennino (1821). Giuseppe Tambroni (ed.). Trattato della Pittura. Rome: Torchi di Paolo Salviucci.
Cennini's Treatise of Painting - was translated by Mary Philadelphia Merrifield in 1844.[1]
Broecke, L. (tr. and ed.) (2015) Cennino Cennini, Il libro dell'arte. London: Archetype. [Transcription and English translation].
Frezzato, F. (ed.) (2006) Cennino Cennini, Il Libro dell’Arte, Vicenza: Neri Pozza. [Edition of the Italian]; his Cennino Cennini's Il Libro dell'Arte. A new English translation and commentary with Ita
Ratings & Reviews
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Displaying 1 - 15 of 15 reviews
May 16, 2021
Feels weird knocking a star off this, as it’s so outside of our time and place, and written for a set of people that no longer exist.
From an craftsman’s viewpoint it’s terribly interesting. I painted props for a few big Hollywood projects that centered around this neighbourhood of time, and this book would have been supremely useful then. Oh well! Now I just get to enjoy it as it is!
I knocked the star off for Cennini’s spinster-esque arguments on how cosmetics make you ugly. I know he’s a creature of his time, but I’m still allowed to suck my teeth at that.
From an craftsman’s viewpoint it’s terribly interesting. I painted props for a few big Hollywood projects that centered around this neighbourhood of time, and this book would have been supremely useful then. Oh well! Now I just get to enjoy it as it is!
I knocked the star off for Cennini’s spinster-esque arguments on how cosmetics make you ugly. I know he’s a creature of his time, but I’m still allowed to suck my teeth at that.
March 1, 2008
Every artist should read this. He writes this in debtors prison. He is trying to be academic in his presentation but to our modern ears it has some funny parts. Like about making women's makeup, that one should avoid dating to be a good artists, etc. There are a lot of useful things if you want to know the formulas used for painting and crafts from the 14th century.
November 11, 2022
Enig boekje. Je hebt er alleen niet super veel aan als je geen fijngoud en loodstift thuis hebt liggen
April 5, 2019
Charming, evocative, though not particularly useful. The section on pigments, however, was fascinating.
March 24, 2022
Il libro dell’arte (1437; The Craftsman’s Handbook), is the most informative source on the methods, techniques, and attitudes of medieval artists. Painting, according to Cennini, holds a high place among human occupations because it combines theory or imagination with the skill of the hand.
September 14, 2018
A great book of the Italian art craftsman - methods and colour pigments, prints etc. a technical book. It was written in the day or era of studying art with a master artist in an atelier. Advice for example given under "Fundamental provisions for anyone who enters this profession" is and I quote again "....begin by decking yourselves with this attire: Enthusiasm, Obedience, and Constancy. And begin to submit yourself to the direction of a master for instruction as early as you can; and do not leave the master until you have to." The book is very technical and some sections only to read as required (i.e. when you do that for example printing) and then under the pigments section - some pigments are not used or available or obsolete. So read and get what you can. There are very advice in this book and a lot of technical material. A rare art book.
August 12, 2021
This was SO interesting, I sat down to read it and then it was suddenly done. I am a classically trained artist myself and also a Master and for me it was fascinating to read how little things have changed, but also how different they are at the same time. Certainly in this master's time, artists had so much more work to do, some of which was really unexpected.
A number of places I had to laugh at the crazy sexist ideas that he, and I suppose the rest of society, held. For example getting only a young woman to stir up the recipe because they are sitting at home and not to trust an old woman with it. The other laugh I had was when you crush medium garlic, mix it with urine and stir it with a straw. It took me a second to realize that he meant the stem of wheat and not the thing you drink out of.
Anyway, for those of us who do classical work, it certainly was fascinating!
A number of places I had to laugh at the crazy sexist ideas that he, and I suppose the rest of society, held. For example getting only a young woman to stir up the recipe because they are sitting at home and not to trust an old woman with it. The other laugh I had was when you crush medium garlic, mix it with urine and stir it with a straw. It took me a second to realize that he meant the stem of wheat and not the thing you drink out of.
Anyway, for those of us who do classical work, it certainly was fascinating!
May 18, 2023
Fascinating look at the technique and technology of late 14th/early 15th century Italian painting. Good reference for the historically-minded artist out there, with late medieval recipes for paints (some of which the author tells you are dangerous or poisonous, and does not recommend).
Overall interesting, but not detailed enough in its instruction to act as a modern-day guide for enthusiasts. As an adjunct to another source, though, this would be excellent. Amusing/fascinating/embarrassing opinions by the original author Cennini occasionally peek through the technical advice, giving the reader a valuable glimpse of the mindset of the culture.
This edition also has some footnotes added on the 19th century of dubious accuracy, but interesting as a historiographical window into the scholarly culture of the time.
Overall interesting, but not detailed enough in its instruction to act as a modern-day guide for enthusiasts. As an adjunct to another source, though, this would be excellent. Amusing/fascinating/embarrassing opinions by the original author Cennini occasionally peek through the technical advice, giving the reader a valuable glimpse of the mindset of the culture.
This edition also has some footnotes added on the 19th century of dubious accuracy, but interesting as a historiographical window into the scholarly culture of the time.
May 14, 2024
Love.
Read
April 25, 2025i’m declaring this finished even though i’m technically not
Read
February 22, 2010One of the best books available for learning Medieval art techniques, and offers a unique insight into a way of life / philosophy of the period.
Ancient Painting course book, Westfield State College, 1999/2000
Ancient Painting course book, Westfield State College, 1999/2000
May 11, 2014
Fun reading the notes of a medieval craftsman. How to make egg tempera and your own brushes from minever tails.
April 29, 2015
It was kind of weird to read a book about the materials and techniques of art from a really sexist author for a studio art class at a women's college...
July 23, 2015
"Fiecare meșteșug, prin însăși natura sa, e folositor și plăcut; și aceasta pentru cine se ține de el, iar pentru cine nu se ține, e invers."
September 10, 2019
A very large book written by a great Master
Displaying 1 - 15 of 15 reviews