the tint of nature's colour; and all the tone of the picture, all the
intensity and splendour will vanish on the instant."[3] We may notice
lastly what Sir Joshua Reynolds points out (Discourse VIII.), that the
harmony of the picture--that wonderful bringing together of two times of
which Lamb speaks above, is assisted by the distribution of colours. "To
Ariadne is given (say the 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."

It is interesting to know that this great picture took Titian three
years, off and on, to finish. It was a commission from the Duke of
Ferrara, who supplied canvas and frame for it, and repeatedly wrote to
press for its delivery; it reached him in 1523.

_A Popular Handbook to the National Gallery_ (London and New York,
1888).

FOOTNOTES:

[3] _Modern Painters_, Vols. I., XXVII., XXX. (Preface to Second