[109] The treatise Dell’arte della seta has survived in several manuscript copies. Gargiolli’s print edition, first published in 1868, contains a transcription and a facsimile of the digitized codex with 47 hand-painted illustrations in water colour, today in Florence, Biblioteca Medicea Laurenzia, Plut.89 sup. 117, https://mss.bmlonline.it/s.aspx?Id=AWOMMO6MI1A4r7GxMQ7e#/book, last accessed on 3 November 2020.
The recipe for black dying ‘Del tigner nero’ is in Cap. XXXII and ‘una pigna’ is mentioned in Cap. LVIII ‘De cammini e delle gricce’ and Cap. LIX ‘Delle gricce’, Gargiolli, L’Arte della Setta in Firenze. Trattato del se colo XV, VII-X; 59-61; 90, https://books.google.nl/books?id=b9tj3duwMRsC&pg=PR3#v=onepage&q&f=false, last accessed on 3 November 2020; cited in Bonito Fanelli, “The Pomegranate Motif In Italian Renaissance Silks,” 195. On the important role of Italy in the trade of textiles and dyestuff, see Paula Hohti’s and Jo Kirby’s essays elsewhere in this volume. Black was the preferred color of silks purchased at the Burgundian court under Philip the Good’s reign, Jolivet, “Pour soi vêtir honnêtement à la cour de monseigneur le duc de Bourgogne: costume et dispositif vestimentaire à la cour de Philippe le Bon de 1430 à 1455,” 69.