[Gothic Art (2)(continued (24))][15th March 1991]

[Redbook8:330-331][19910315:1000e][Gothic Art (2)(continued (24))][15th March 1991]

19910315.1000

[continued]

‘The purpose of this [workshop]* was first and foremost to protect standards. It was assumed that five years spent [by Rogier van der Weyden, 1399/1400-64]* watching Robert Campin [1378/9-1444]* at work would at least turn an apprentice into a reliable painter (though not necessarily an inspiring or memorable one). However, it also produced a respect for tradition which forms a prominent trait in mediaeval art. It comes out clearly in one of the surviving mediaeval painters’ manuals, the “Libro dell’Arte of Cennino Cennini (fl. c[irca]1370-1440), written probably in the late 14^th century. Cennini stressed two distinct elements in the development of a young painter’s potential: learning from a good master, and copying nature.’

**

*[Square brackets per ms, indicating insertion in ms]

**– ibid [Encylopaedia of Visual Art 4:] 589

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