One of the pictures which mark the advance made by Titian in the art of landscape. Look at the background of some earlier Holy Family--at the "purist" landscape, for instance, of Perugino (288),--and the change will be seen at once--a change from the conventional or ideal to the real and the actual. Titian was one of the first to "relieve the foreground of his landscapes from the grotesque, quaint, and crowded formalism of the early painters, and give a close approximation to the forms of nature in all things; retaining, however, this much of the old system, that the distances were for the most part painted in deep ultramarine blue, the foregrounds in rich green and brown" (_Lectures on Architecture and Painting_, p. 158). In particular he was the first[43] to "apprehend the subduing pathos that comes with eventide" (see Gilbert's _Cadore_ or _Titian's Country_, p. 33). Titian, says Ruskin (_Modern Painters_, vol. v. pt. ii. § 1, ch. vii. § 15), "hardly ever paints sunshine, but a certain opalescent twilight which has as much of human emotion as of imitative truth in it: The clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality." 5. A SEAPORT AT SUNSET. _Claude Lorraine_ (French: 1600-1682). _See_ 2. An instance of false tone (_cf._ under Cuyp, No. 53). "Many even of the best pictures of Claude must be looked close into to be felt, and lose light every foot that we retire. The smallest of the three Seaports in the National Gallery is valuable and right in tone when we are close to it, but ten yards off it is all brick-dust, offensively and evidently false in its whole hue." Contrast "the perfect and unchanging influence of Turner's picture at any distance. We approach only to follow the sunshine into every cranny of the leafage, and retire only to feel it diffused over the scene, the whole picture glowing like a sun or star at whatever distance we stand, and lighting the air between us and it" (_Modern Painters_, vol. i. pt. ii. sec. ii. ch. i. § 20). 6. DAVID AT THE CAVE OF ADULLAM.[44] _Claude Lorraine_ (French: 1600-1682). _See_ 2.