Cennino Cennini's Il Libro dell'Arte: A new English translation and commentary with Italian transcription

Abstract

Reseña:Cennino Cennini’s Il Libro dell’Arte: A new English translation and commentary with Italian transcriptionAutor: Lara BroeckeArchetype Publications, London, 2015Dimensiones: 246 x 175mmPaginas: 352Idioma: InglésISBN: 9781909492288

Why Are the Early Gothic Murals in St. Jacob’s Church in Ormož, Slovenia, Almost Entirely Black?

“…These semi-precious expensive minerals were often ground to small grains in order to spend less of it; however, this causes colour intensity loss. For this reason, both pigments were generally underlaid with grey (veneda) or reddish (morello) colour layers to raise the colour intensity [9,10], as already suggested by Teophilus in the 12th Century [20] and by Cennino Cennini in the 15th Century [21]. In Ormož, we did not find such underlayers and pigments were applied directly on the plaster, as observed on sample cross sections (Figures 3, 6, 7b and 11).…”

Tempera and Tempera Grassa─From Wet Paints to Solid Films

“…For this rheological study, paints different from those described in Table 1 are studied: the volume ratio of pigment and EY dry matter was fixed to 1:2, and the oil content was varied. This ratio was found to be useful in preliminary tests with regard to rheology of paints, film formation, as well as drying kinetics, and it is consistent with a statement by the Renaissance artist Cennino Cennini (chapter 157): "[...] bind your pigments with egg yolk, and bind them thoroughly, always as much egg yolk as the pigment [...]", 21 considering that half of the yolk is water and pigment powder apparent densities are in the range of ca. 15−30% of bulk densities.…”

“…The Supporting Information is available free of charge at https://pubs.acs.org/doi/10.1021/acsapm.3c00179. Collections; ATR-FTIR spectra of EY-rich tempera and TG samples; SEM pictures of LW and UB pigments; brush strokes of tempera and TG paints at a disperse fraction φ tempera = 40 vol % with increasing oil content φ oil ; brush strokes of tempera and TG paints on glass and on paper; gravimetric experiment for the determination of the water loss; change in mechanical hardness of the paint layer surface upon time; drying time of EY-rich tempera and TG paint films of thickness h = 0.4 mm in the liquid state; water loss and mechanical hardness versus time for LW EY-poor TG paint layers; surface of dried UB-based TG samples with φ tempera 40% + φ oil 30% with a thickness layer of h = 0.4 mm (left) and h = 1.0 mm (right) in the wet state; TGA curve derivatives, comparison of the mass increase of the paint sample and the associated peroxide decomposition performed by TGA measurements, and DSC curves under N2, normalized to the oil content, of a LW EYrich TG (16 vol % of LW, 48 vol % of EY and 36 vol % of LO); onset temperature of the overall exothermic peak associated to the decomposition of peroxides and hydroperoxides (endothermic) and the recombination of radical species (exothermic) as a function of the evaluation time; proposed scheme of the microstructure of the paint model systems in the dried state; mass loss from thermograms at 125 °C under N2 of naturally airdried samples; thermogravimetric data under N2 at a heating rate of 20 °C/min of naturally air-dried samples upon time at days 0, 21…”