Many critics have pushed their inquiries from the artist, into the peculiar character of his chiaroscuro; and the most copious among these is Signor Zanetti, who devoted years to its examination. I select some of his observations, premising, however, that he left a large portion of them to the more studious, desirous themselves of developing them, in the works of Titian. And, in truth, his pictures are the best masters to direct us in the right method of colouring; but, like the ancient classics, that are equally open, and equally the subjects of commentary to all, they are only of advantage to those who are accustomed to reflect. I have already mentioned the lucid clearness predominating in Venetian paintings, and more especially in those of Titian, whom the rest adopted for their model. I then too pronounced it to be the result of very clear primary grounding, upon which a repetition of colours being laid, it produces the effect of a transparent veil, and renders the tints of a cast no less soft and luscious than lucid. Nor did he adopt any other plan in his strongest shades, veiling them with fresh colour, when dry; renewing, invigorating them, and warming the confines that pass into the middle tints. He availed himself, very judiciously, of the power of shade; forming a method not altogether that of a mere naturalist, but partaking of the ideal. In his naked forms he cautiously avoided masses of strong shades and bold shadows, although they are sometimes to be seen in nature. They certainly add to the relief, but they much diminish the delicacy of the fleshy parts. Titian, for the most part, affected a deep and glowing light; whence, in various gradations of middle tints, he formed the work of the lower parts; and having very resolutely drawn the other parts, with the extremities, stronger, perhaps, than in nature, he gave to objects that peculiar aspect which presents them, as it were, more lively and pleasing than the truth. Thus in his portraits he centers the chief power in the eyes, the nose, and the mouth, leaving the remaining parts in a kind of pleasing uncertainty, extremely favourable to the spirit of the heads, and to the whole effect.