While the complementary nature of practical texts has been addressed in the literature, less is known about the interplay between text and practice itself. What were the boundaries, constraints and possibilities that determined how the interplay between text and practice could evolve? How did text as a medium determine the playing field for authors and readers? What were, in other words, the particular challenges and affordances that text as a medium brought to the communication of practical knowledge? In as far as the challenges of textual communication have been mentioned in previous scholarship, the focus has primarily been on the tacit, gestural or embodied character of practical knowledge. A few other examples include the culture-specific or local character of practical knowledge that remain difficult to account for in text. 56 However, in virtually every case the focus has been on the writer's perspective. The challenges texts as a medium pose to the communication of practical knowledge thus appear to only complicate the writer's task, while the reader's perspective has received almost no attention at all. In this dissertation, I include the reader's perspective and study practical texts as a medium that brought specific challenges and affordances, not only to the authors but also to the readers.
Johann Kunckel's Ars Vitraria Experimentalis (1679) is arguably the most important text on seventeenth-century glassmaking. As an augmented German translation of Italian (1612) and English (1662) editions, Kunckel presented a complex and layered text that contained a plethora of recipes, elaborate commentaries and annotations, and various appendices dealing with glass-related technologies and arts. We reworked four recipes for rosichiero glass (a transparent red glass) in Kunckel's book to discover what strategies Kunckel employed to help readers engage with the recipes and to make the recipes work in the specificity of their own workshop. We learned that Kunckel regularly neglected to test the Italian recipes, and that not all of his corrections are improvements, thereby specifying our understanding of the "codification of error" as a strategy to write down colour-making knowledge. Instead, Kunckel made the choice to educate his readers on the very mechanisms of glass colouring to allow them to intervene to influence the colour of the glass and to gain further control over the making process. He argued that the colour of glass is sensitive to the manner in which ingredients are sourced and processed, and emphasised the importance of furnace management in optimising the colour of glass.
The early modern period witnessed a great increase in the production and dissemination of artisanal handbooks, manuals and recipes. A central question is what role these texts played in the transmission of artisanal knowledge. This study explores the case of Dutch silversmith Willem van Laer (1674–1722) who published a Guidebook for upcoming gold- and silversmiths (1721), a comprehensive and well-received manual of the craft. To assess the role of the Guidebook in the acquisition of practical skills in the eighteenth century, this study employs traditional historical methods combined with historical re-enactment. I argue that effective use of the Guidebook depended on complementary hands-on education of master craftsmen, which suggests that the Guidebook was far from a DIY crash course and illustrates that the textual transmission of craft knowledge depended upon, rather than threatened, established routes to craft learning, such as apprenticeships.
This article argues that in the early modern period, epistemic genres were transformed to suit new purposes. Modelled on the experimental essay form used by proponents of the New Sciences, the Dutch polymath and painter Simon Eikelenberg (1663-1738) wrote down ervarenissen to document how painting materials such as varnishes were prepared. Recipes have been identified as the ubiquitous vehicles for written know-how in the early modern period, yet authors continuously searched for new ways to unpack the ineffable dimensions of know-how in text. This article explores the ervarenissen as an alternative communicative strategy. Eikelenberg appropriated the experimental essay to create expressive instructions. He emphasized the specificity and idiosyncrasy of an act of making, tried to establish a sympathetic relationship with his readers, and showed how vulnerability, failure and improvisation belong to the workshop.
The role of the melting conditions and furnaces used to the obtained final colors has always been a question raised when investigating formulations and recipes of historical glasses. The focus of the present work is the reproduction of three recipes of red enamel glass of the manuscript by Neri, L'arte vetraria (1612) following the translation and comments by Kunckel's in Ars Vitraria Experimentalis (1679). The reproductions include the production of each individual compound of the selected recipes following instructions, and the final glass production in electric and wood‐fire furnaces to assess the effect of different melting conditions. A multianalytical approach was used to fully characterize the produced samples allowing the study of the enamel chemical composition, color, crystals formations, and thermal properties. The results indicate that no significant color differences may be attributed to the melting conditions. However, it revealed that the samples produced in the electric furnace at 1200°C present a high crystallinity degree and the formation of white crystals at room temperature in a short period of time. The formation of crystals on glass is critical, and historically, to avoid it, these recipes must have been made at temperatures between 1050 and 1100°C.
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