ere was, in the days of
these old painters, which did not tend very much to raise the
profession. "Sometimes, in the course of your practice," says Cennino,
"you will be obliged to paint flesh, especially faces of men and women."
He recommends the painting them with egg tempera, with oil, and with
_oil and liquid varnish_, "which is the most powerful of temperas." He
proceeds to tell how the paint is to be removed. Chapter 162 is entirely
devoted to the ladies, and offers a caution now happily unnecessary, but
it is so quaintly given, that we quote it:--

"It sometimes happens that young ladies, especially those of Florence,
endeavour to heighten their beauty by the application of colours and
medicated waters to the skin. But as women who fear God do not make use
of these things, and as I do not wish to render myself obnoxious to
them, or to incur the displeasure of God and our Lady, I shall say no
more on this subject. But I advise you, that if you desire to preserve
your complexion for a long period, to wash yourself with water from the
fountains, rivers, or wells; and I warn you, that if you use cosmetics,
your face will soon become withered, your teeth black, and you will
become old before the natural course of time, and be the ugliest object
possible. This is quite sufficient to say on this subject."

A modern painter with whom we are acquainted, declares that he has _very
often_ been called upon to paint "under the eyes" of certain "young men
about town"--we presume of the Titmouse grade--that they might appear
the more decently before the public and their employers.

If poor Cennino had entertained no other fears but the displeasure of
the fair sex, he would have passed a happier old age. We know not that
he condescended to paint faces, however, in his most abject condition.
There was ever from the beginning a complaint of the little favour
bestowed upon artists in general. Was the art considered a slavish
practice? Grecia Capta taught it to the Romans, with whom,
notwithstanding the force of some few high names, as of Fabius Pictor,
it was at no time in very high repute.

The indefatigable Gaye says of the fluctuations incidental to the
profession of arts--"While, on one hand, painters, sculptors, and
military engineers flourish as ambassadors, magistrates, and
correspondents with princes, others live overwhelmed with debt, and
pleading for subsistence." A tax return of Jacopo de Domenico, painter,
gives thi