The compilation
of a glossary is a long and laborious project,
and often the authors’ effort is not
appreciated: for the amount of consultation,
specialized glossaries and dictionaries are
rarely found in bibliographies and are
distinguished from essay-writing. On the other
hand, glossaries and dictionaries tend to receive
much criticism, as often a single entry is
confused with the quality and the objectives of a
term with a larger meaning. However, it is
impossible to overlook their central role in the
transmission of technical and specialist
knowledge. A glossary is the compilation of
vocabulary that belongs to a determined and
circumscribed field (in this case, the field of
traditional painting techniques and restoration),
that is the language with which the people in
this field use to communicate among themselves.
Other than establishing terms for communication,
a glossary also acts an access key for knowledge
to the public: even back in 1681, Filippo
Baldinucci, in the introduction to his
Vocabulary, declared to have accepted the
tiresome work of compiling terms, not for the
"art professors," but for those
"who were not professors, so that they may
understand and discuss the arguments, or at least
understand what is being discussed." The
nature of entries in a glossary does not intend
that the vocabulary refer to only one discipline:
in this case, for example, as a result of
defining restoration interventions, one finds the
interaction of complex equipment for specialists,
which makes it necessary to continue trespassing
into areas far from the reality of the art world.
In addition, for artistic techniques (including
specific instruments and materials), the
complexity is due to the necessity to compare
present techniques with antique tradition and to
the exceedingly varied use of the terms, where
their significance may vary in relation to the
period of use, context, and geographical area in
consideration. This complexity is intended to
enrich the glossary and to safeguard and make
known this specific cultural heritage, as well as
act as a key for a better understanding of
antique treatises and recipe books.
Argos/Painting may be viewed with two objectives
in mind: on the one hand to a offer a
contribution to the standardization of terms and
their definitions, and on the other to group
together the peculiar language of regional areas,
particularly rich where art becomes artistic
craftsmanship.
In addition, the Argos project has further
objectives and expectations. |
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