Lomazzo – Haydocke 1598

Giovanni Paolo Lomazzo – Richard Haydocke, Tracte Containing the Artes of curious Paintinge Carvinge Building written first in Italian by Jo: Paul Lomatius painter of Milan. And Englisched by R. H. student in Physik, Oxford [Joseph Barnes] 1598.

pp. 93–95

THE
THIRD BOOKE
TREATING OF COLOVR
BY IO: PAVLVS LOMATIVS
PAINTER OF MILANE.

* * *

Of the vertue of Colour.
CHAP. I.

IT is manifest, that all those thinges which are first proportionably drawne, and then artificially coloured, will beare the true and naturall resemblance of the Life, by expressing all the actions and gestures thereof. Insomuch that one dogge, seeing another painted, will barke at him, as it were prouoking him to fight: because he taketh him to be aliue, by the bare appearance, as if he sawe himselfe in a glasse. An example whereof wee have in a dogge, which defaced one painted by Gaudentius, in a table of Christ carrying the crosse at Canobium. We reade how Birdes have flowne at other artificiall ones; as the Partriges, which flewe at those which Parrhasius had painted upon a columne at Rhodes. It is reported that there was a certaine Dragon, so naturally drawne in the Triumvirate in Rome, that hee made the birdes leaue singing. Howbeit that picture in Claudius Theater was more strang, where (they say) the Crowes were openly deceiued with the counterfeit tiles, offering to flie through the painted windowes, to the exceeding great admiration and laughter of the spectators. The story of Zeuxes is well knowne, who painted clusters of grapes on a table so liuely in the Theater, that the birdes flying by pecked at them; though hee were afterwards beguiled himselfe, by a curtaine which Parrhasius painted in emulation of his grapes. And here I may not omit that admirable horse, which Apelles painted for the confuting of certaine painters who contended with him: which assoone as the liue horses sawe, they straight began to neigh, wince, and flinge with their heeles, provoking it to fight. Who afterwards painted that admirable Alexander with lightning in his hand, which he set of so stoutely, as if it had bin truely imbossed; there are yet remayning in Transtevero in Rome, certayne Children done by the hand of Balthasar of Siena, which so perfectly seeme to be made in Stucco, that they have deceaved even divers good Painters.

All which examples, and the like mentioned by writers to this purpose may easily be admitted for true; since Andreas Mantegna of our time, deluded his maister with a flie, which he had drawne uppon the eielid of a Lyon: and an other late workeman, provoked a true Parret to prattle, at the sight of one which he had most naturallie counterfeited. Besides it is well knowne, that Bramantinus represented a Servant in porta Vercellina in Milane, so neere the life, that the Horses never left kicking at it, til there was noe shape of a man left. Againe, Barnazano an excellent Landskip-worker counterfeited Strawberries so liuelie uppon a wal in a Landskip, that the Peacockes (supposing them to bee naturall) pecked at them. Who likewise (in a table donne by Cæsar Sestius where hee had painted Landskipes) drewe certaine birdes sitting uppon the hearbes with such arte, that the table being set abroade in the sunne, other birds came flying about them, taking them for liue birdes. This table is now to be seene with Vicont Prospero a Knight of Millan and a great scholler. Howbeit it may seeme frivolous to stand uppon these meaner wonders, insomuch as this Arte of Colouring affordeth farre greater: beeing able to represent the true difference betweene all liuing creatures, whether they bee beastes, birdes, or fishes: distinguishing moreover men of all countries and conditions; by most significantly expressing all the passions of their mindes, and almost the very voyce it selfe. Soe meere a nothing is the most naturall counterfeiting of each seuerall complexion. Touching the Elements, it can resemble the flashings of the light, the fyer, aire, water, fountaines, cloudes, lightnings, thunder, stormes, and whatsoever else is any way capable of the vertue of Colour; which I will ouerslippe, concluding, that the vertue thereof is so mightie, that there is no bodilie creature, but may bee most liuelie expressed thereby.

Which prerogative of this part of painting, is (in my iudgement) the greatest glory that may befall any Arte: being moreover herein superior vnto all other artes, insomuch as it worketh by the helpe of the Eie, which is the principall sense, representing the beauty and formes of all Gods creatures. Neither yet doth it onely expresse the outward formes of things; but also discovereth certaine inward passions; painting, and as it were laying before our eies, the affections of the mind, with their effects: whence it is likewise availaoble to Civile discipline; since hereby we may represent worthy and famous men, and by the helpe of speculation, Vertue it selfe.

Wherefore it is worthy to be embraced and reverenced of all, as an especiall gift of God, for the increase of Morall and Civile behaviour, as also for the glory of Painters, whose rare workes make knowne the power and force of the Arte, which is so manifold, that it is a rule and direction to all other arts, insomuch as it ministreth them examples of faire and beautifull works. Which could neuer be donne without the helpe thereof: as may appeare by such workes, as were done about the times, when this worthy arte laie buried. Whence we are admonished to be thankefull to God for the restauration thereof, by bestowing the perfect knowledge of divers parts thereof, uppon sundrie of those worthy Maisters, which I have before mentioned; who have made it no lesse famous, then those other most ancient and renowned workemen.

pp. 96–97

OF THE NECESSITY
OF COLOURING.
CHAP. II.

BECAVSE it is now high time, to put that draught in colours, which I have hitherto talked of (that so the picture may growe to the better perfection) my purpose is in this present booke, to intreate of colours, and their naturall concorde and discorde; aswell in regarde of their Matter, as of their mixture and appearance, how each of them serueth to each severall kind of Painting; and last of all how they are to bee used for carnations. Notwithstanding I meane not precisely to handle them all, but onelie the principall, for plainenesse and brevity sake. And in these I will touch their most important effectes and mixtures, not striving to shewe in what partes of the earth all the naturall colours growe, or of what matters the artificiall are made, as little appertayning to our purpose. And because the quantities of their Mixtures are so infinite in number, that they can hardely be knowne, I will mention onely certaine of the chiefe, by whose example we shalbe directed unto the rest.

VVhere (by the waie) wee are to understand, that this parte of Painting, is of smale value without the rest. So that where they shall all concurre together, they will adde a marvailous grace to thinges, by expressing the whole force, purpose, and designement of excellent Painters; free from that confusion of colours, which (with griefe) wee daylie see in the workes of rude and unskillfull workmen.

Now concerning the necessity of colouring (which is my chiefest purpose in this chapiter : ) surely without it painting can in no sorte attaine to perfection : insomuch as it addeth a kinde of true spirite and life, to all such thinges as are first artificially drawne, which receaue so much the more grace and perfection, by howe much the more neatelie they bee coloured. For by the helpe of colours thus iudiciouslie disposed, the eies of those mournefull countenances (mencioned in the former booke of Motions) wil looke pale, of fooles wanne and voide of al bloud, of angrie folkes fierie, and of such as weepe blackish; The like differences wil appeere in hearbes, plantes, fruites, living creatures, stones garmentes, hayre &c. If we shall giue eache of them their proper colours, drawne partlie from Nature and partly from conceipt. All which precepts together with those which followe, wil inable us to counterfeit all thinges most properlie, as the Sun-beames, the starres, the night and dawning of the daie, thunder, lightning, clouds, comets, the euening, faire wether, windes, tempest at sea, and whatsoever else beeing first delineated by the Painter, requireth the iudicious perfections of colours, in which the exacte skill of Heighthninges and Deepeninges, Lightninges and shaddowes dependeth.

p. 98

THE DEFINITION OF COLOVR:
HOW MANY KINDES THEREOF
THERE BEE: AND WHENCE
THEY ARE CAVSED.
CHAP. III.

ARISTOTLE defineth Colour to be, a visible qualitie limited & bounded in the surface or extremity of a darke body, which before it be lightned, is visible onely in possibility; & by the benefit of the light may be actually seene. So that colour is caused by the light in a darke or thick body, by the mutuall working of the first qualities. Now there be 7 sortes of simple colours, from which all the rest arise. Of these 2 are extreames, as white & Blacke; and 5 middle, as light yeallow, redde, purple, Blewe and Greene.

Now concerning the generation of colours, Colde produceth white, wherevnto much light is required. Heate ingendreth Blacke, proceeding from a smale quantity of light and much heate. Red is made by the mixture of white, and blacke. Violet or pale of much white and a little red: Saffron colour or yeallow of much red & little white. Purple of much red and a little blacke, and greene of a little blacke and much red. And this may suffice for the foundation and originall of colours. Wherefore now I come to the matters whereof they are made.

pp. 99–100

OF THE MATTERS
OF COLOVRS.
CHAP. IIII.

THE Matters of all such colours as are in generall use with us now a daies, are for the most part, knowne. And first the matters of whites are gypsum, Ceruße, White-lead and the pouder of white marble. And here by the way I wil discouer a rare secret, which wil cause the colours in Frisco to continue as faire as if they were laid while the chalke is fresh: namely the white of an egge beaten very thin and mixed with your colours as occasion shall serue: the purest and fayrest whereof being strained very thin, serueth to make a good carnation in distemper. The matters of yeallowe, are the yeallowe of the Flaunders fornace and of Almany, commonly called masticot and generall. They which make blewe are the ultramarine and that of Hungary, and also Smaltes, of which that of Flanders, is counted the best. They which make Greenes; are greene bize, Verdigrease, verdetto called holy, inclining towards a yeallow (which with us is called pinke) verditer, and verde de barildo. * Morello di ferro; and di sale, doe make a Morello (which colour is either bay or murrie) and so doth burnt Vitrioll, Cilestro or sad azure, and darke indico. Reddes are made of the 2 cynnabars called Vermilions Natural and Artificial, and of the red earth called Maiolica, otherwise browne of spaine. Sanguine is made of all sortes of Lake. Orenge-tawny, of Redlead, or burnt Orpigment. And this is the Alchymy of the Venetian painters. The shaddowes of carnation are the earth of Campania, and Umber called Falsalo, burnt verditer, asphaltum, mummia &c. finally Blacks are made of burnt Ivory, the shels of almondes burnt, ball blacke, Lampe-blacke; and blacke made of a kind of rubbish called blacke earth.

Of all which colours these are Artificiall: the made Vermilion, the 3. yeallowes, smaltes, red-lead, lakes, Indico, Ceruße, holy-greene, verdigrease, and verde de barildo. All the rest are Naturall (save certaine washing colours) as inke, turnesoll, pasta spinzaurivo, saffron, bole-armoniacke to lay goulde with, Oker burnt, and soote, which is much used in drie workes either uppon a wal, or on paper.

VVashing colours.

For washing or drawing on paper these colours serue. For Blackes inke, blacke-lead, blacke-chalke, and the cole of a willowe, or dogge-wood tree: for Reddes, the red-stone called apisso, which was much used by Le: Vincent; and for Whites, white-lead or Ceruße. And so I proceede, to note what agreement everie one of these colours have with eache kinde of Painting.

* MY authour seemeth heere, to put Morello for a Murrie or darkeblewe colour; which me thinkes might bee so understood, if hee did not for the most part, ioyne morello di ferro and morello di sale together. For either the cinders of the smithes forge, or the scales which flie of in beating the red hot iron uppon the anvill, being grounde, doe make a darke blewe colour. But as for morello di sale, it must needes be the rust of salte, called flossalis, whereof Mathiolus l. 5. c. 88. uppon Dioscorides writing faith, that it is of a saffron colour, in these words: There is a reddish colour like unto rust digged out of the German salt-mines, much desired of the Painters, which peradventure is, ipse flos salis: the flower it selfe of salt, for it is like it in colour and tast, and is commonly called Morello di sale. Wherefore I rather thinke that it is the Rust of iron, and the Rust of salte, making naturally a Bay colour: for which cause I have still translated them the Rust of iron and salte: though in some places they agree not in colour as they are named in the mixture. So that I imagine there is some errour crept into the booke, which by mine owne paines I cannot yet finde, nor by my conference with many good Painters and Chymistes.

p. 101

WHAT SORTS OF COLOVRS
AGREE WITH EACH KIND
OF PAINTING.
CHAP. V.

„BECAVSE some colours cannot be wrought in all the 3 kinds of painting, as in Frisco which is don upon fresh chalke, Oile worke, and Distemper but they will die, I meane therfore to distinguish them, as they agree with each of them severally. And first of all concerning Frisco: for whites, drie white is used, & the morello of salt (there is a white morello di sale, as Mathioli notes). Of light yeallowes, that of the furnace of Flanders & oker. Of Blewes, smalt, the greater part of Azures, specially the ultramarine. Of Greenes, greene bize, & verditer. Of murries that of iron. Of Reddes maiolica. For shaddowes of carnation, falsalo, and the earth of Campania. For blackes; the balle-blacke; and blacke earth.

Colours for Oyle.

These colours are to be used in Oile; of whites white lead; of yeallows al sorts, where Orpigment is to be mixed with the powder of glasse (for a drier). Of Blewes all the azures, & some kind of smalts. Of Greene, Verdigrease, & pinke (Verde santo): of Murries, that of iron, skiecolour, & Indico. Of Reds all sorts; of Sanguine, all lakes. Of Orenge-tawny red lead, and burnt orpigment. Of shaddowes all that are named. And of Blackes all fortes.

Colours for Distemper.

Now for Distemper, Drie worke and washing all colours may be used. And here I wil not conceale an other conceited kinde of working with Pastilles, which are roules with sharpe points made of colours, first ground into pouder, a matter of no great difficulty to doe, whose especiallest use is upon paper; & was much used by Le: Vincent, who wrought the heades of Christ & the 12. Apostles, in this sort most exquisitely. Which kinde of worke as it is most easily and speedily done, so is it as lightly defaced. But concerning the artificial practize of colours in all sortes of works, Bernardus de campo Cremonensis hath written a large & learned treatise, whose industrious works shew his great knowledge in the true practise thereof.

p. 102

OF THE NATVRAL AGREEMENT
AND DISAGREEMENT BETWEENE
THE COLOVRS.
CHAP. VI.

THERE is moreover a naturall concord & discord betweene the colours themselves; insomuch, that if some colours be mixed together, they wil presently destroy each other. Which is seene in our daily experience. For Gypsum agreeth with all colours except verdigrease, and so doth Ceruße, save that it is an enemy to drie white, which likewise agreeth only with the powder of marble, and all yeallowes, save that of Almany. Orpigment and Vitrioll agree with azures, smalts, greene azur, verditer, rust of iron, browne of Spaine, falsalo, the earth of Campania, cole, & blacke earth: but is an enemy to graine and the rest. Orpigment is enemie to all save gypsum, oker, azures, smaltes, greene bize, verditer, rust of iron, browne of Spaine, and lake. Oker agreeth with all: and so doth yeallow of Almany, except with drie white. Orpigment and vitrioll are friendes to azures, and smalts, which accord with all. Verdigrease admitteth any, except orpigment, gypsum, drie white, powder of marble, greene of barildo, vermilion and red lead: Greene bize withall, except verdigrease. Verdetto will indure any, save Orpigment: Verditer liketh all, and so doth morello. Indico is an enemy to drie white; but a friend to all besides. The artificiall vermilion, agreeth not with chalke, verdigrease and orpigment: maiolica and red lead agree with all, save that red lead disagreeth with verdigrease, drie white, orpigment & verdetto. Umbers accord with all; and so doe blackes; save burnt Ivory, and lamp-blacke; which serue for oyle. The other concordes and discordes betweene colours, I omit as being of small moment.

pp. 103–105

WHAT MIDDLE COLOVRS
ARISE FROM THE DIVERS MIXTVRES
OF THE SIMPLES.
CHAP. VII.

MY meaning is not to speake of the mixtures of colours as they concerne each kinde of worke particularly, but onely of those which belong vnto Oyle. Because from these you may draw the observation for the other sorts of worke; by mixing such colours as agree with that manner of worke you have in hand. As in Frisco you must use drie white in steede of white lead in oyle. Neither will I stand to limite out the precise quantitie of the colours to be mixed: because mixture being onelie a confusion of divers matters together, may be vnderstood by the example of other things mixed together; the exact quantities whereof practise will best learne us: Iudging it more necessarie, to shew what colours serue for the true expressing of all naturall things.

First then white lead mixed with yeallow oker, maketh a pale strawcolour; & by adding thereto a little yeallow, it maketh the lightes of Aberne hayre, much like boxe. With Azure it maketh skiecolour, and likewise with smalt: though different: with Verdigrease the colours of all leaues and herbes, as the willowe, the oliue and such like dead greenes; but much sweeter and with more variety, by putting thereto a little Pinke. White mixed with Pinke, maketh a yeallowe like vnto Generall.

And in Frisco being mixed vvith drie white, it prooues very beautifull. vvhich was the invention of Perino dell Vaga. White with the rust of iron makes the Aggate colour. And with Indico skiecolour, and the colour of the Saphire, Iacinth, and Turkey though somewhat faint. With Vermilion the colour of unripe strawburies; with carnation the damaske rose colours; with Umber and other shaddowing earthes, the colour of the barkes of trees, blockes, wood, stones, hayre &c. And with blacke, a darke tawny, and the colour of smoake, in the second degree.

Yeallowe mixed with azure and smalte make certaine greenes much used in the Landskippes, and apparrell: and with Indico a deadder greene then the former; but much the fresher by adding orpigment. These yeallows mixed with Vermilion, make the colour of fire, and of shining.

Azures and smaltes mingled with pinke, make a darke greene, with lake the peacocke colour or fadde murry; with Umber they loose their colour, and with blacke are darkened and decayed. Verdigrease with pinke makes a very fresh greene, something towardes a yeallowe: with Indico a darke tawny. With Umber it decayeth, and with blacke it is darkened. Indico with Lake makes a fadde Peacocke colour; with blacke and lake the colour of iron, silver, glasse, Christall, tin &c. especially being mixed with balle blacke. Azure hath the same effect with Indico.

Vermilion and lake make the colour of ripe strawburies, roses, red lippes, rubies, bloud and skarlet; the same mixtures with white, make the colour of red cheekes, of faire carnation and damaske roses.

Vermilion and blacke makes the colour of burnt oker. Lake and red lead make the colour of Vermilion, and sweeten umber in the shaddowe of carnation, and mingled with azure they make the coloure of dry roses or purple. Azures, smalts, or Indico, with lake and blacke make the colour of blacke velvet; and by adding white, the lightning or lights of ashe-colour velvet and sattens. Oker with lake vermilion and blacke make a tawny; and are lightned with white; and by putting in steede of blacke a little umber, and in steede of vermilion and blacke, burnt oker, may likewise bee lightned; but without Umber make a colour more freshe and crimsonlike.

Yeallow and vermilion make an orenge-tawny like red lead.

Oker, browne of Spaine, and blacke make a colour like Umber.

All which mixtures are lightned and diverslie varied accordinglie as they are mixed with white more or lesse. Whence arise sundrie medlies in Landskippes as hilles, and trees; where cerusse is mixed with pinke and azure.

Lake and azure make the violet and columbeane colour, and besides a fad murrie, and the smale wrinkles in apparrell, especially Sattens, the like it doth with Indico.

Verdigrease and pinke make the greene fieldes, Smaragds, and garments of like colour: it lightneth all darkes colours, and maketh the luster of Diamonds, glasse, armour &c. Besides it lightneth all bodies of what colour soever, according to their degrees.

White mixed with blacke, Umber, lake and Indico, make a light ashe-colour; with Umber and blacke the sariccio; with oker and browne of Spaine the toppes of hilles and rockes scorched with the sunne; and with yeallowe and Vermilion the light of the flame. Yeallowe lightneth the fire being mixed with divers colours.

And these are all the principall mixtures of colours; from the consideration whereof, we may draw all the rest: wherefore they ought to be made familiar vnto us in all the other kinds of worke.

pp. 105–106

OF THE AGREEMENT OF
LIGHT AND DARKE COLOVRS
WITH EACH OTHER.
CHAP. VIII.

MOREOVER it behooueth a Painter to know, how one colour will shaddow and lighten an other: to the ende, that whensoever he would make a coloured garment, the light and darke colours may yeelde a sweete concord, which is neglected by them who in yeallow cloth use red shaddowes; or in white blewish, red or other colours, which have no affinity therewith.

White.

It is therefore to be observed, that white agreeth onely with blacke, neither can it bee shaddowed with any other colour then that, insomuch as they are both extreames.

Yeallowe.

The best shaddow for generall Yeallowe and Orpiment is Oker, but the yeallowe of Almany being sadder then this, must bee shaddowed with a sadder Oker.

Blewe.

Azures and smaltes shaddow those skiecolours, which are made of them and white mixed together.

Greene.

Verdigrease shaddoweth those mixtures which are made of it and white. Pinke and the Rust of Iron, morello di sale, and indico, shaddowe all such mixtures as are made of them: and so doe Vermilion, and browne of Spaine. Lake with browne of Spaine shaddoweth orpigment: Al the other mixt colours named in the former chap. are shaddowed with those colours, whereof they are made.

The second degree.

Now in the second degree, yeallow oker which shaddoweth light yeallow, may be shaddowed with burnt oker and burnt lake. Burnt and sad oker is shaddowed with umber mixed with burnt oker, browne of Spaine, or lake. Azures and Smaltes are shaddowed with indico, and with blacke and lake together. Verdigrease with blacke and indico. Pinke with Umber, the Rust of iron, morello di sale, and blacke. Vermilion with lake, burnt oker, or it selfe mixed with blacke.

The third degree.

In the third degree, blacke and lake shaddow true yeallow: for the sadde is shaddowed with blacke: in like manner umber and burnt oker are shaddowed with blacke. Lake shaddoweth all the mixtures of it and white. The like of vermilion. Finally umber shaddoweth all colours cleerer then it selfe: wherein we must euer have regard to their dimnesse and freshnesse, as generally in all other colours, respecting the qualities of the lightning and shaddowing colours, that so we may fitly sute them with the ingredientes of the true middle colour, which they lighten and shaddow.

pp. 107–108

OF THE TRANSPARANT COLOVRS,
AND HOW THEY
ARE WROUGHT.
CHAP. IX.

BECAVSE there be some Transparant colours as Lake, Verdigrease, and verditer which are naturally so thin and bodilesse, that they cannot be wrought; it is therefore requisite, that I say somethinge concerning the manner how they are to be wrought. The Oile Painters use these colours to counterfeit all cleere transparant bodies, as Carbuncles, Rubies &c. which being first grosly wrought with counterfeit mixtures of dead colours voide of transparancie and brightnes, are afterwards laxeered over with simple, pure and cleane lake, which doth most artificially represent those lightes and shaddowes, which in truth are not there, making them seeme as if they were covered over with burning glasse, whereby they doe most neerely resemble the life. Now this cannot be done in Frisco, where the lightes and shaddowes are given onely by the stroakes of the draught. After the same order, verdigrease and verditer giue the lusters and transparancie to Smaragdes and the like transparant matters.

These colours are likewise used to giue the lusters and shinings of sattens and silkes being altered from their naturall colours, when they are wrought upon the abossered or grosly layed colours, which custome hath so prevailed with many, that respecting onely vaine shewes, without any regard of the precepts of arte, they use it not onely in the above named apparrels, but also in drapery of contrary stuffes, which in no sort require the Luster of silkes. Insomuch that now a daies they will make no cloth of pure mixture like vnto wollen, or linnen, but they lighten it cleane ouer with these shining colours. Whence it may truely be saied that the arte of Painting in respect of the point of colouring is corrupted, insomuch as this shining of picturs is so much esteemed in this age, that no picture (be it neuer so good) wil please the vulgar eie without it. Wherefore it was practiced with great discretion, by diuers who were reputed the fathers and first inventors hereof: the worthiest whereof i have named in the ende of the first booke, to the great honour of the Flemmings in this point: of whose workes I have seene certaine tables in oile, in that noble antiquary Iulius Calistanos house, by which I gather, how sparingly they used this freshnesse of shining. For in these pictures, you should see nothing but pure mixtures representing the truth, and that with great admiration to the beholders. So that those workemen deserved no small commendation; namely Gill: Mostardo, Pier: Brugill, Iames Grimaldo, Franciscus Florus, and Martine Hemskerke.

But to the purpose, we ought moreover to propose to our selues the examples of the life, marking whether therein we finde this vanity of affected flourish, which appeares in divers excellent workes, of such as have carefully imitated it when occasion serued, and omitted it againe, when the matter required it not, to the ende they might not confound their delineation therewith; as may appear by the workes of the above named Painters, who were euer the greatest enemies to this corruption, truely so called, because besides that the true vertue of the arte is not shewed, there are oftentimes divers grosse errours committed, insomuch as it hath bin used not onely in the garments of the Saints, but euen of Christ himselfe, and our Lady, by representing them in glittering and lascivious attire which they neuer used.

But to the matter, there are other transparent colours, which are wrought uppon the grosser groundes, to giue them their due lusters. For asphaltum giueth the luster of the aburne and chestnut coloured haire; and so doth umber finely mixed with lake: and were much used by Le: Vincent, Ra: Vrbine, Cesar Sesto, Andreas de Sarto, and many others, who had a very sweete and delicate handling, as Anto: de Coreggio, Titianus, Gaudentius, and Boccacino, who was speciall good in colours, and very ingenious in his draught, as appeeres by his workes in Cremona his countrie and other places, especially in velvet, tuftaffatie, and damaske, mixing them with divers colours agreeable to the natures thereof.