[57] This would appear to have been a very unusual method. The Giottesque painters commonly employed a ‘bed’ of a reddish colour.
[58] Cennini, ed. 1859, cap. 60, p. 36.
[59] Cennini, ed. 2859, cap. 52, p. 33. C. J. Herringham: ‘The Book of the Art of Cennino Cennini,’ London, 1899, p. 256.
[60] In an early manuscript cited by Mrs. Herringham, in her edition of Cennini, ‘azzurro della Magnia’ is said to have cost from 1 to 3 ducats the pound, whereas ultramarine cost 5 ducats the ounce. Cennini, English ed., 1899, p. 257.
[61] Cennini, ed. 1859, cap. 50, p. 32.
[62] Cennini, English ed., 1899, p. 255.
[63] ‘Cennini,’ ed. 1859, p. 66.
[64] Vasari, ed. 1568, Vol. I, p. 380. The passage in the original runs thus: ‘Le quali Alesso abozzò à fresco, e poi fini a secco, temperando i colori con rosso d’ uouo mescolato con vernice liquida fatta à fuoco.’
[65] Vasari, ed. Sansoni, Vol. II, pp. 673 and 685.
[66] Appendix, Doc. IX.