181. Colour in Raffaelle was the assistant of expression; to Titian it was the vehicle of truth; Correggio made it the minister of harmony. It was sometimes seized, and though reluctant held, but oftener neglected by the first; it was embraced, it domineered over, it coalesced with the second; it attended the third like an enchanted spirit.
182. Lodovico Carracci was the first who gave in oil the colours of gravity, the dignified twilight of cloistered meditation.
183. Annibale Carracci, from want of feelings, though impressed by a grave principle, changed the mild evening-ray of his master to the bleak light of a sullen day.
184. Colour owes its effect sometimes more to position and gradation than to its intrinsic value.[37]
185. The colour of Titian is the most independent of surrounding objects; their union may assist, but their discrepance cannot destroy it.