Perugino
Hardly less ornamental in its more conscious grace and Renaissance feeling is Perugino's triptych of the Virgin adoring, with St. Michael on one wing and St. Raphael and Tobias on the other. It is a splendid deep-toned harmony of blues, and warm flesh tones and golden hair, varied by opals, rose red, bronze, green, white, and purple and orange.
Titian
Titian's "Bacchus and Ariadne" is, perhaps, more what I have described as a pattern-picture, and is of a much later type. The full flush of colour and pagan joy of the Renaissance is here paramount, expressed with the masterly freedom of drawing and magnificent colour sense of the great Venetian master. Yet, looking through the life, the movement, the swing and vitality of the figures, and the power and poetry by which the story is conveyed, we shall find a fine ornate design, sustaining an extremely rich and sumptuous pattern of colour. We have a spread of deep-toned blue sky barred with silvery white and gray clouds, great masses of brown and green foliage swaying against it, above a band of deep blue sea, and a field of rich golden brown earth. Warm flesh tones, deep and pale, break upon this with a gorgeous pattern of flying rose, blue, scarlet, orange, and white draperies, varied with the spotted coats of the leopards, the black of the dog, and the copper vessel and warm white of tumbled drapery.
Keats might have had this picture in his mind when he wrote the song in "Endymion":
"And as I sat, over the light blue hills
There came a noise of revellers: the rills
Into the wide stream came of purple hue.
'Twas Bacchus and his crew!