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or a poet must word so his emotions that when read or said everything sounds beautiful. Hence painting deals only with the [[double underlined]] pictorial [[/double underlined]] [[underlined]] form [[/underlined]] and simplification, alteration, composition, color, perspective, light, air, drawing, brushing, in short every process of painting serves only that end. [[underlined]] Pictorial form [[/underlined]] is not fotografing sculpture but [[underlined]] transmuting into color flats [[/underlined]], into brushed pigment, on a flat ground the [[underlined]] visible world, the personal impression [[/underlined]].
Having determined now in the underpainting the [[underlined]] general [[/underlined]] composition, colorite, tone, : it is for the [[underlined]] second painting [[/underlined]] that the pictorial must be corrected by unification, change of color, form - drawing, beautiful patterns. Titians pictures were so made "He underpainted in modelling all in color, according to what colorite the picture was to be, let it fully dry, then a second painting corrected and modified, let it dry; so a third and fourth time, until he finished the work with glazings, painting thin, smooth, exact, enamel like, and so well prepared and deliberated that, hiding the labor and art, it looked as if painted without effort, time, and à la prima. These pictures are in good preservation. Tintorettos rough and ready routine technic produced pictures which have much deteriorated" (Philippi)

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