fruits of
their composition, neglect these precautions. Several artists even paint
in varnish, _and apply it with their colours_. This precipitate method
gives brilliancy to their compositions at the very moment of their being
finished; but their lustre is temporary and of short duration. It
renders it impossible for them to clean their paintings, which are,
besides, liable to crack and to lose their colour. In a word, it is not
uncommon to see an artist survive his works, and to have nothing to
expect from posterity." But lest it should be said, as M. Merimee did
say, that Tingry, the author of the above passage, wrote _only_ to house
painters, he adds thus--"Nothing that relates to the house painter is
foreign to the artist of a higher order who paints compositions; in like
manner, the precepts admitted by the celebrated painters deserve the
attention of the varnisher, to whom the painter entrusts his greatest
interests. The observations contained in this note are the brief result
of some instructive conversations I had with Saintours, a celebrated
painter, my friend and relation."[5]

We revert to our review of M. Merimee's work, as preliminary to our
notice of the beautiful volume of Mrs Merrifield's translation on
Tambroni's edition of _Cennino Cennini_, because the subject of vehicles
is here again brought before the public; and we know of no subject more
important, as it regards the interests of art, for the consideration of
this and of every other country. For it appears incontestable that there
was a period when the art of painting, through the discovery of a
vehicle, broke forth into uncommon splendour and beauty, which splendour
and beauty remain in works fresh and perfect to this day; and that there
was a subsequent period at which this particular vehicle was lost. We
therefore thank the authoress (for her notes are important, and demand
that we should give her this title in addition to that of translator)
for again bringing this subject before the public in so attractive a
manner, by the elegance of the type, illustration, and binding of this
volume, so agreeable to the eye; and for the addition of many of her own
judicious remarks. So that, through this feminine grace and good sense,
an interest and attention are awakened, which the bare recipes of
Cennino Cennini would hardly have commanded.

Cennino Cennini has frequently been partially quoted from Vasari
downwards; partially quoted, but little read. H