Introduction to the "Ricche Minere della Pittura Veneziana," Venezia, 1674. The Italian annotators on older works on painting are sometimes at a loss to find modern terms equivalent to the obsolete names of pigments. (See "Antologia dell 'Arte Pittorica.") The colours now in use corresponding with Boschini's list, are probably yellow lakes, smalt, verditer, and Naples yellow. Boschini often censures the practice of other schools, and in this emphatic condemnation he seems to have had an eye to certain precepts in Lomazzo, and perhaps, even in Leonardo da Vinci, who, on one occasion, recommends Naples yellow, lake, and white for flesh. The Venetian writer often speaks, too, in no measured terms of certain Flemish pictures, probably because they appeared to him too tinted.

"La Carta del Navegar Pitoresco," p. 338.

Ib. p. 341. In describing Titian's actual practice ("Ricche Minere"), he, however, adds yellow (ochre). The red is also particularised, viz., the common terra rossa.

High examples here again prove that the opposite system may attain results quite as successful.

Introduction to the "Ricche Minere."

See Note to Par. 555. Here again, assuming the description to be correct, high authorities might be opposed to the Venetians.