The effects of semi-transparent mediums in some natural productions seem alluded to in the following passage--"Nature sometimes accidentally imitates figures in stones and other substances, and although they are necessarily incomplete in form, yet the principle of effect (depth) resembles the Venetian practice." In a passage that follows there appears to be an allusion to the production of the atmospheric colours by semi-transparent mediums.[11] [1] "Dialogo della Pittura, intitolato l'Aretino." It was first published at Venice in 1557; about twenty years before Titian's death. In the dedication to the senator Loredano, Lodovico Dolce eulogises the work, which he would hardly have done if it had been entirely his own: again, the supposition that it may have been suggested by Aretino, would be equally conclusive, coupled with internal evidence, as to the original source. [2] 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. [3] "La Carta del Navegar Pitoresco," p. 338. [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."