[5] "L'Archipelago con tutte le Isole," Ven. 1658. The incidental notices of the remains of antiquity in this work would be curious and important if they could be relied on. In describing the island of Samos, for instance, the author asserts that the temple of Juno was in tolerable preservation, and that the statue was still there.
[6] "La Carta del Navegar Pitoresco," Ven. 1660. It is in the Venetian dialect.
[7] Inveriadure (invetriature), literally the glazing applied to earthenware.
"O de che strazze se fan cavedal!
D'ogio d'avezzo, mastici e sandraca;
E trementina (per no'dir triaca)
Robe, che ilustrerave ogni stival."—p. 338.
The alliteration of the words trementina and triaca is of course lost in a translation.
[9] "I li ha fati straluser co' i colori." Boschini was at least constant in his opinion. In the second edition of his "Ricche Minere della Pittura Veneziana," which appeared fourteen years after the publication of his poem, he repeats that the Venetian painters avoided some colours in flesh "e similmente i lustri e le vernici."
[10] Thus, in the introduction to the "Ricche Minere," Boschini calls the Milanese, Florentine, Lombard, and Bolognese painters, forestieri.
[11] "Il Riposo," Firenze, 1584.
[12] "De' Veri Precetti della Pittura," Ravenna, 1587.