CII
Sir John Millais is certainly right in his estimate of strong and even bright colour, but it seems to me that he is mistaken in believing that the colour of the Venetians was ever crude, or that time will ever turn white into colour. The colour of the best-preserved pictures by Titian shows a marked distinction between light flesh tones and white drapery. This is most distinctly seen in the small "Noli Me Tangere" in our National Gallery, in the so-called "Venus" of the Tribune and in the "Flora" of the Uffizi, both in Florence, and in Bronzino's "All is Vanity," also in the National Gallery. In the last-named picture, for example, the colour is as crude and the surface as bare of mystery as if it had been painted yesterday. As a matter of fact, white unquestionably tones down, but never becomes colour; indeed, under favourable conditions, and having due regard to what is underneath, it changes very little. In the "Noli Me Tangere" to which I have referred, the white sleeve of the Magdalen is still a beautiful white, quite different from the white of the fairest of Titian's flesh—proving that Titian never painted his flesh white.
The so-called "Venus" in the Tribune at Florence is a more important example still, as it is an elaborately painted picture owing nothing to the brightness that slight painting often has and retains, the colours being untormented by repeated re-touching. This picture
is a proof that when the method is good and the pigments pure, the colours change very little. More than three hundred years have passed, and the white sheet on which the figure lies is still, in effect, white against the flesh. The flesh is most lovely in colour—neither violent by shadows or strong colour—but beautiful flesh. It cannot be compared to ivory or snow, or any other substance or material; it is simply beautiful lustre on the surface with a circulation of blood underneath—an absolute triumph never repeated except by Titian himself.
It is probable that the pictures by Reynolds are often lower in tone than they were, but it is doubtful whether the Strawberry Hill portraits are as much changed as may be supposed. Walpole, no doubt, called them "white and pinky," but it must be remembered that, living before the days of picture cleaning, he was accustomed to expect them to be brown and dark, probably even to associate colour with dirt in the Old Masters. The purer, clearer, and richer the colours are, the better a picture will be; and I think this should be especially insisted upon, since white is so effective in a modern exhibition that young artists are naturally prompted to profit by the means cheaply afforded and readily at hand.
I think it is probable that where Titian has used brown-green he intended it, since in many of the Venetian pictures we find green draperies of a beautiful colour. Sir John seems to infer that the colours used in the decoration of the Parthenon (no doubt used)
were crude. The extraordinary refinements demonstrated in a lecture by Mr. Penrose on the spot last year, at which I had the good fortune to be present, forbid such a conclusion. A few graduated inches in the circumference of the columns, and deflection from straight line in the pediment and in the base-line, proved by measurement and examination to be carefully intentional, will not permit us for a moment to believe this could have been the case; so precise in line, rhythmical in arrangement, lovely in detail, and harmonious in effect, it could never have been crude in colour. No doubt the marble was white, but illuminated by such a sun, and set against such a sky and distance, the white, with its varieties of shadow, aided by the colours employed, could have gleaned life and flame in its splendour. Colour was certainly used, and the modern eye might at first have something to get over, but there could have been nothing harsh and crude. The exquisite purity of line and delicacy of edge could never have been matched with crudity or anything like harshness of colour. To this day the brightest colours may be seen on the columns at Luxor and Philae with beautiful effect.
Watts.