Summary: 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.

Contents: Volume 1 ; Foreword , Martin Kemp ; Introduction: Defining a Historical Approach to Leonardo's Trattato della pittura, Claire Farago. MILAN - 1. Before the Trattato: Philological Notes on the Libro di pittura in the Codex Urbinas 1270, Carlo Vecce. 2. Leonardo's Workshop Procedures and the Trattato della pittura, Claire Farago ; Introduction - Part One: The Optics of Painting in Leonardo's Workshop and the Trattato - Part Two: The Training of the Artist and the Trattato - Part Three: The Mechanics of Human Movement in the Trattato. 3. Leonardo's Lost Book on Painting and Human Movements, Matthew Landrus. URBINO - 4. On the Origins of the Trattato and the Earliest Reception of the Libro di pittura, Claire Farago. FLORENCE - 5. The Earliest Abridged Copies of the Libro di pittura in Florence, Anna Sconza. ROME TO PARIS - 6. Seventeenth-Century Transformations: Cassiano dal Pozzo's Manuscript Copy of the Abridged Libro di pittura Treatise on Painting, Juliana Barone. 7. The Final Text, Janis Bell - Part One: Raphaël Trichet du Fresne as Textual Editor - Part Two: Charles Errard and the Illustrations ; In Appendice - The Visual Imagery of the Printed Editions of Leonardo's Treatise on Painting, Mario Valentino Guffanti

Volume 2 - Text of the Trattato della pittura. Editorial Procedures - Introduction: Claire Farago and Janis Bell - Editorial Criteria for the Transcription: Maria Rascaglia - Establishing the Text of 1651: Claire Farago and Janis Bell - Abbreviations Used in the Critical Apparatus - Table of Contents of Trattato Chapters - Transcription with Critical Apparatus: Carlo Vecce, Maria Rascaglia, and Anna Sconza - English Translation: Janis Bell and Claire Farago. In appendice - A. Brooker 1: Janis Bell. B. MS A, LdP, and ITAL 1651: Claire Farago. C. Organization of the Trattato della pittura: Claire Farago. D. Omissions, Trattato and LdP: Claire Farago . E. Variants in the Early Florentine Manuscripts: Anna Sconza. F. Leonardo's Library: Claire Farago. (Brill's Studies in Intellectual History, 263. Brill's Studies on Art, Art History, and Intellectual History, 18)

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