be durable, and worthy his great name. We should have doubted if Titian
did always paint on a white ground--and should fix upon the "Peter
Martyr" as the subject of doubt. It is said to have been the practice of
Correggio; if so, he did not always derive the benefit from the ground
which white grounds are said to confer, for his painting is so generally
solid, and the transparency so much the effect of his glazing, that
there seems to be no reason why he should have given the preference. It
is said the Flemish School used white grounds--probably Rubens did so
generally, not all other painters. Teniers used a light drab, and, if we
were to judge from some of his skies, painted upon it when that thinly
coloured ground was wet. Unless a great body of colour be used, even in
the most transparent painting, white grounds are apt to give a weakness
and flimsiness. Gaspar Poussin, and perhaps generally, Nicolo, painted
on red grounds; the former probably often upon a vermilion ground,
though most commonly on one of a deeper tone; the advantage of this, in
landscapes, such as his, is evident. There is no colour so good as red
to set off greens; and in fact, to make tints appear green, that on
another ground would not so be; and, moreover, a red ground, from its
warmth, makes those greens appear cool, deep, and refreshing, which is
so strong a characteristic in the colouring of that great Italian
landscape painter, Gaspar Poussin.

The most important recipes of Cennino Cennini may be those which relate
to fresco-painting; and as that is now likely to be nationally revived,
this publication is well-timed. So much has been said and written of
late upon this subject, that we think it best simply to refer to the
text and notes. To those who mean to practise fresco, they may be
important. Besides the value of the recipes of Cennino, there are
incidentally some curious things not unworthy of notice. All persons
must have been surprised in pictures of grave subjects, and we might
especially mention those of Paul Veronese, that dogs are introduced as
attendants on feasts, and we find them gnawing bones on very fine
floors. But we find in Cennino Cennini that it was the practice to throw
their bones under the table. Cennino recommends them to be gathered and
selected for black pigments. We have heard it said that Murillo was
partial to the pigments made from beef bones taken after dinner.

There is a practice, or we should say happily th