[Footnote 16: "Some made use of pure colours, without blending one with the other; a practice well understood in the age of Titiano: others, as Coreggio, adopted a method totally opposite: he laid on his admirable colours in such a manner, that they appear as if they had been breathed without effort on the canvas; so soft and so clear, without harshness of outline, and so relieved, that he seems the rival of nature. The elder Palma and Lorenzo Lotto coloured freshly, and finished their pictures as highly as Giovanni Bellini; but they have loaded and overwhelmed them with outline and softness in the style of Titiano and Giorgione. Some others, as Tintoretto, to a purity of colour not inferior to the artists above mentioned, have added a boldness as grand as it is astonishing;" &c. Baldinucci, Lett. Pittor. tom. ii. lett. 126.] [Footnote 17: See Baldinucci in _Lett. Pittor._ tom. ii. lett. 126, and one by Crespi, tom. iv. lett. 162.] [Footnote 18: We must recollect that "de pictore, sculptore, fusore, judicare nisi artifex non potest," (Plin. Jun. i. epist. 10); which must be understood of certain refinements of the art that may escape the eye of the most learned connoisseur. But have we any need of a painter to whisper in our ear whether the features of a figure are handsome or ugly, its colouring false or natural, whether it has harmony and expression, or whether its composition be in the Roman or Venetian taste? And where it is really expedient to have the opinion of an artist, which we therefore report as we have either read it or heard it, will that opinion have less authority in my pages than on his own tongue?] [Footnote 19: Abundance of quotations, and descriptions of the minutest particulars from rarer works is a characteristic of the present day, to which I think I have sufficiently conformed in my second Index. But in a history expressly composed to instruct and please, I have judged it right not to interrupt the thread of the narrative too frequently with different authorities. The works from which I draw my account of each artist are indicated in the body of the history and in the first index: to make continual allusion to them might please a few, but would prove very disagreeable to many.]