ON COLOUR IN PAINTING. 25
critics) a red scarf, to relieve the figure from the sea, which is behind
her. It is not for that reason alone, but for another of much greater
consequence; for the sake of the general harmony and effect of the
picture. The figure of Ariadne is separated from the great group, and
is dressed in blue, which, added to the colour of the sea, makes that-
quantity of cold colour which Titian thought necessary for the support and
brilliancy of the great group; which group is composed, with very little
exception, entirely of mellow colours. But as the picture in this case
would be divided into two distinct parts, one half cold, and the other
warm, it was necessary to carry some of the mellow colours of the great
group into the cold part of the picture, and a part of the cold into the
great group; accordingly Titian gave Ariadne a red scarf, and to one
of the Bacchante a little blue drapery." If a diagonal line be drawn
across the picture, we find the picture composed of a mass of hot and a
mass of cold colours, laid out upon the broadest scale, and aiding each
other by their opposition. The blue is carried into the warm mass by a
little blue drapery, and a few blue flowers at the bottom of the picture;
the next approach from the cool to the warm colours is by green,
produced by the green of the distance and the trees; and is carried on
to the figures by the wreaths of vine tendrils, &c. and repeated by the
grass at the bottom. The warm colour is brought up against the cool
ground by the drapery of Bacchus, which is of a lake colour, and the
scarf of Ariadne of a strong red; which latter coming in contact with her
blue drapery, attracts the eye by its harsh opposition, this figure being
the point from which the action of the picture emanates. We find in
this arrangement not only the greatest breadth of colour, but also such
colour laid out in the general appearance of nature. When we compare
Titian with other colourists, we find in his tones a greater truth and
sweetness, his deepest brown shadows never appear black, his reds have
a less harsh appearance from their being less positive, his green colours
less violent, possessing more tone either of a brown or gray hue, and his
E
•
critics) a red scarf, to relieve the figure from the sea, which is behind
her. It is not for that reason alone, but for another of much greater
consequence; for the sake of the general harmony and effect of the
picture. The figure of Ariadne is separated from the great group, and
is dressed in blue, which, added to the colour of the sea, makes that-
quantity of cold colour which Titian thought necessary for the support and
brilliancy of the great group; which group is composed, with very little
exception, entirely of mellow colours. But as the picture in this case
would be divided into two distinct parts, one half cold, and the other
warm, it was necessary to carry some of the mellow colours of the great
group into the cold part of the picture, and a part of the cold into the
great group; accordingly Titian gave Ariadne a red scarf, and to one
of the Bacchante a little blue drapery." If a diagonal line be drawn
across the picture, we find the picture composed of a mass of hot and a
mass of cold colours, laid out upon the broadest scale, and aiding each
other by their opposition. The blue is carried into the warm mass by a
little blue drapery, and a few blue flowers at the bottom of the picture;
the next approach from the cool to the warm colours is by green,
produced by the green of the distance and the trees; and is carried on
to the figures by the wreaths of vine tendrils, &c. and repeated by the
grass at the bottom. The warm colour is brought up against the cool
ground by the drapery of Bacchus, which is of a lake colour, and the
scarf of Ariadne of a strong red; which latter coming in contact with her
blue drapery, attracts the eye by its harsh opposition, this figure being
the point from which the action of the picture emanates. We find in
this arrangement not only the greatest breadth of colour, but also such
colour laid out in the general appearance of nature. When we compare
Titian with other colourists, we find in his tones a greater truth and
sweetness, his deepest brown shadows never appear black, his reds have
a less harsh appearance from their being less positive, his green colours
less violent, possessing more tone either of a brown or gray hue, and his
E
•