TITIAN’S PAINTING.
Sir Abraham Hume, the accomplished annotator of The Life and Works of Titian, observes: “It appears to be generally understood that Titian had, in the different periods of life, three distinct manners of painting: the first hard and dry, resembling his master, Giovanni Bellino; the second, acquired from studying the works of Giorgione, was more bold, round, rich in colour, and exquisitely wrought up; the third was the result of his matured taste and judgment, and, properly speaking, may be termed his own—in which he introduced more cool tints into the shadows and flesh, approaching nearer to nature than the universal glow of Giorgione.”
After stating what little is known of the mechanical means employed by Titian in the colouring of his pictures, Sir Abraham remarks: “Titian’s grand secret of all appears to have consisted in the unremitting exercise of application, patience, and perseverance, joined to an enthusiastic attachment to his art: his custom was to employ considerable time in finishing his pictures, working on them repeatedly, till he brought them to perfection; and his maxim was, that whatever was done in a hurry, could not be well done.” In manner and character, as well as talent, Titian may not inappropriately be associated with the most eminent painter this country ever produced, Sir Joshua Reynolds.