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experience

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These two developments throw light on what is perhaps the most fundamental difference between the Renaissance and all previous periods of art. We have repeatedly seen that there were these circumstances which could compel the artist to make a distinction between the "technical" proportions and the "objective;" the influence of organic movement, the influence of perspective foreshortening, and the regard for the visual impression of the beholder. These three factors of variation have one thing in common: they all presuppose the artistic recognition of subjectivity. Organic movement introduces into the calculus of artistic composition the subjective will and the subjective emotions of the thing represented; foreshortening the subjective visual experience of the artist; and those "eurhythmic" adjustments which alter that which is right in favor of what seems right, the subjective visual experience of a potential beholder. And it is the Renaissance which, for the first time, not only affirms but formally legitimizes and rationalizes these three forms of subjectivity.

EP
Erwin Panofsky

Meaning in the Visual Arts

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This is the essence of Rembrandt's advice to Van Hoogstraten: the authentic craft develops naturally from one's own experience.So, it seems reasonable to suggest that the search should not be for the lost secrets, but for one's own practice. This is in fact easy, you start making things. At first they might not be perfect, but the information here should provide you with a running start. And, if you are cut out for this the learning curve will not be daunting, because you will realize that you are finally headed in the right direction: towards the living craft.