The practice here alluded to is more frequently observable in slight works by Paul Veronese. His ground was often pure white, and in some of his works it is left as such. Titian's white ground was covered with a light warm colour, probably at first, and appears to have been similar to that to which Armenini gives the preference, namely, "quella che tira al color di carne chiarissima con un non so che di fiammeggiante."[1] [1] "Veri Precetti della Pittura," p. 123. NOTE L L.--Par. 919. The notion which the author has here ventured to express may have been suggested by the remarkable passage in the last canto of Dante's "Paradiso"-- "Nella profonda e chiara sussistenza, Dell' alto lume parremi tre giri Di tre colori e d'una continenza," &c. After the concluding paragraph the author inserts a letter from a landscape-painter, Philipp Otto Runge, which is intended to show that those who imitate nature may arrive at principles analogous to those of the "Farbenlehre." THE END. End of the Project Gutenberg EBook of Goethe's Theory of Colours, by Johann, Wolfgang von Goethe