"Dialogo di Pittura," Venezia, 1548. Pino, in enumerating the celebrated contemporary artists, does not include Paul Veronese, for a very obvious reason, that painter being at the time only about 17 years of age. Sorte, who wrote thirty years later, mentions "l'eccellente Messer Paulino nostro," alone.

The Dialogues of Lodovico Dolce, and various other works, are not referred to here, as they contain nothing on the subject in question. The latest authority at all connected with the traditions of Venetian practice, is a certain Giambatista Volpato, of Bassano: he died in 1706, and had been intimate with Ridolfi. The only circumstance he has transmitted relating to practical details is that Giacomo Bassan, in retouching on a dry surface, sometimes adopted a method commonly practised, he says, by Paul Veronese (and commonly practised still), namely, that of dipping his brush in spirits of turpentine; at other times he oiled out the surface in the usual manner. Volpato left a MS. which was announced for publication in Vicenza in 1685, but it never appeared; it, however, afterwards formed the ground-work of Verci's "Notizie intorno alla Vita e alle Opere de' Pittori di Bassano." Venezia, 1775. See also "Lettera di Giambatista Roberti sopra Giacomo da Ponte," Lugano, 1777. Another MS. by Natale Melchiori, of about the same date, is preserved at Treviso and Castel Franco: it abounds with historical mistakes; the author says, for instance, that the Pietro Martyre was begun by Giorgione and finished by Titian. The recipes for varnishes and colours are very numerous, but they are mostly copied from earlier works.