Mrs Merrifield, also, whose translation from Cennino Cennini, and whose works on fresco painting are so valuable, has been collecting materials abroad, and will shortly publish her discoveries. The two proofs to which we are to look are documents and chemistry. The secret of Van Eyck may have been found out, but its modification under the Italian practice will be, perhaps, the more important discovery. I am glad also to learn, that Mr Hendrie intends to publish entire with notes, the "De Magerne MS." in the British Museum. I believe artists are already giving up the worst of vehicles, the meguilp, made of mastic, of all the varnishes the most ready to decompose, as well as to separate the paint, and produce those unseemly gashes which have been the ruin of so many pictures. Whether colour be considered in its agreeability, _per se_, or in its sympathetic, its sentimental application,--for the attainment of either end, it is of the highest importance to resume the very identical vehicle, and the mode of using it, which were the vehicle and the methods of Titian, Giorgione, and Corregio, and generally of the old masters. Yours ever, A----s. _4th June, 1847._ FOOTNOTES: [10] Titian's palette was most simple: the great variety in the colouring of his pictures was effected by the fewest and most common colours--browns I believe he did not use, of which we boast to possess so many; the ochres, red and yellow, with his black and blue, made most or all of his deepest tones, the great depth being given, by glazing over with the same, and touching in here and there slight varieties, more or less of the red or yellow, lighter or darker being used in these repetitions. Hence the harmony of his general tones--upon which, as the subject required them, he laid his more vivid colours. I believe the best painters have used the simplest palette--the fewest colours. Our own Wilson is said to have replied to one who told him a new brown was discovered, "I am sorry for it." But by far the most injurious of all our pigments is asphaltum; it always gives rather rottenness than depth. [11] Mr Etty has written a letter, which has been lithographed and widely circulated, bearing so directly upon this subject, that I cannot refrain from noticing it. And this I do, because the authority of a Royal Academician, and one, I believe, selected to be judge in the distribution of the prizes in Westminster Hall Exhibition, cannot but have an influence, both with the public and the rising professors of the art.