Historical Painting Techniques, Materials, and Studio Practice
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Ricordi di belli colori<br />
Initially it seemed reasonable to assume that the Rome manuscript was writter.<br />
Sy Mariani as a draft version of the l<strong>and</strong>scape section. The manuscript<br />
wa, then reworked <strong>and</strong> exp<strong>and</strong>ed for the larger treatise of which, presumably,<br />
both the Leiden <strong>and</strong> Yale manuscripts are copies. However, there are some<br />
remarkable features that made us continue the search fo r the origin of the<br />
Rome manuscript, leading to interesting results.<br />
The manuscript's text covers most of the chapters on specific l<strong>and</strong>scape elements<br />
that are present in the Leiden <strong>and</strong> Yale manuscripts, but lacks the<br />
chapters on composition <strong>and</strong> underdrawing. There are also considerable differences<br />
in the order <strong>and</strong> composition of the chapters <strong>and</strong> in the language,<br />
as well as some repetitions <strong>and</strong> crossing out of text. First, a comparison with<br />
other Italian treatises on painting technique from the sixteenth <strong>and</strong> early<br />
seventeenth century shows that no specific attention is given to l<strong>and</strong>scape<br />
painting, especially not in such great detail as we see in the Rome manuscript.<br />
L<strong>and</strong>scape painting of that period was simply a Flemish specialty. It reached<br />
its peak after Pieter Breughel the Elder introduced the new spatial concept<br />
of several planes leading to a distant vista in which the religious theme became<br />
a detail instead of the main, foreground scene. The l<strong>and</strong>scapes produced by<br />
the many Flemish artists working in Italy were enormously popular, <strong>and</strong><br />
l<strong>and</strong>scape print series circulated widely (18). The Rome treatise seems to<br />
reflect a Flemish sense of detail concerning l<strong>and</strong>scape elements, an idea supported<br />
by the presence of Flemish painter Michiel Gast's name in a chapter<br />
on how to paint villages in the background. Gast's methods are found to be<br />
exemplary. We know little about Michiel Gast today except that he came to<br />
Rome as a pupil of Lorenzo of Rotterdam <strong>and</strong> was known for his paintings<br />
of ruins (19). The citation of Gast's methods <strong>and</strong> the detailed attention to<br />
l<strong>and</strong>scape elements suggests a strong Flemish influence on the author of Ricordi<br />
di belli colori.<br />
Another remarkable feature of the Rome manuscript are the chapters on<br />
flowers <strong>and</strong> plants. Although the plants described are quite common in Italy,<br />
the names used are often botanical ones, probably most familiar to a person<br />
with a special botanical interest. In these chapters some personal remarks are<br />
present. For example, the writer says, "I have made a yellow flower in my<br />
book with herbs, the biggest one without l<strong>and</strong>scapes" <strong>and</strong> "to represent well<br />
the fruit of the Jusaina or otherwise nocella as that is how it is called in the<br />
village of Rocca Contrada." It is striking that all such personal remarks made<br />
by the author are omitted in the l<strong>and</strong>scape section in the Leiden <strong>and</strong> Yale<br />
manuscripts, while personal remarks are retained in the sections of those<br />
manuscripts containing recipes for pigments <strong>and</strong> dyestuffs .<br />
A reading of the manuscript suggests that the writer lived in Rocca Contrada,<br />
painted l<strong>and</strong>scapes, came from a Flemish background (or was strongly influenced<br />
by Flemish l<strong>and</strong>scape painting), had botanical interests, <strong>and</strong> probably<br />
illustrated a herbarium. Knowing this, should we still consider Valerio Mariani<br />
da Pesaro as the writer of the Rome manuscript or should we look elsewhere?<br />
It was in fact the citation of Michie! Gast's name which helped us to answer<br />
this question.<br />
Gherardo Cibo<br />
One of the very few known works by Gast can be found in the collection<br />
of Gherardo Cibo, an Italian nobleman-artist-botanist (1512-1600). Cibo<br />
lived for most of his life in the small village of Rocca Contrada, now called<br />
Arcevio, in the Marche, the region of the Duchy of Urbino. Cibo started an<br />
ecclesiastic career in Rome but he did not pursue it, settling in 1539 in Rocca<br />
Contrada where he occupied himself with artistic <strong>and</strong> botanical activities.<br />
Although in obscurity until the 1980s, research has revealed that Cibo was<br />
responsible fo r many l<strong>and</strong>scape drawings in major collections that had been<br />
anonymous or wrongly attributed, often to Flemish artists (Fig. 2). A 1989<br />
Hermens 51