[4] 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.
[5] High examples here again prove that the opposite system may attain results quite as successful.
[6] Introduction to the "Ricche Minere."
[7] See Note to Par. [555]. Here again, assuming the description to be correct, high authorities might be opposed to the Venetians.
[8] The following quatrain may serve as a specimen; the author is speaking of the importance of the colour of flesh as conducive to picturesque effect:—
"Importa el nudo; e come ben l'importa!
Un quadro senta nudo è come aponto
Un disnar senza pan, se ben ghe zonto,
Per più delicia, confetura e torta."—p. 346.
In his preface he anticipates, and thus answers the objections to his Venetian dialect—"Mi, che son Venetian in Venetia e che parlo de' Pitori Venetiani hò da andarme a stravestir? Guarda el Cielo."
[9] The word Macchia, literally a blot, is generally used by Italian writers, by Vasari for instance, for the local colour. Boschini understands by it the relative depth of tones rather than the mere difference of hue. "By macchia," he says, "I understand that treatment by which the figures are distinguished from each other by different tones lighter or darker."—La Carta del Navegar, p. 328. Elsewhere, "Colouring (as practised by the Venetians) comprehends both the macchia and drawing;" (p. 300) that is, comprehends the gradations of light and dark in objects, and the parts of objects, and consequently, their essential form. "The macchia," he adds, "is the effect of practice, and is dictated by the knowledge of what is requisite for effect."
"Ma l'arivar a la maniera, al trato
(Verbi gratia) de Paulo, del Bassan,
Del Vechio, Tentoreto, e di Tician,
Per Dio, l'è cosa da deventar mato."—p. 294, 297.