Med at is missed. The more simple the palette, the better will be the picture. We are taught by the practice as well as words of Titian, who said that "whoever would be a painter, should be well acquainted with three colours, and have a perfect command over them." There are some excellent observations on this subject in the translator's preface, who quotes from Sir Humphrey Davy on colours. "If red and yellow ochres, blacks and whites, were the colours most employed by Protogenes and Apelles, so are they likewise the colours most employed by Raffaelle and Titian in their best style. The St John and Venus in the tribune of the gallery at Florence offer striking examples of pictures, in which all the deeper tints are evidently produced by red and yellow ochres, and carbonaceous substances." Cennino's argument for the use of fine gold and good colours, will be read with more attention by the modern Germans, who have, it is said, for the purposes of their art joined the Catholic Church, than by our English artists, with whom it will but raise a smile, that the artist should be li