Note 363 — Chapter I · (continued 3)
Francis Plumptre Beresford Osmaston translation
To make this judgment in any degree a sound one we must assume the stress is laid on the mysterious aspect of expression and form. The genuine examples of Leonardo are so very few. But quite apart from that unless we exclude the great triumvirate of the Venetian school altogether Tintoret, Titian, and Veronese, the praise here given to Leonardo as a consummate master of the technique in oil-painting can only be received with considerable reserve and qualification.