Those who object, as some venture to do, to Titian's colour, especially in his backgrounds, we believe overlook his intention, and are not aware how much what they consider defects affect the whole. Objections have been made to the background of the _Peter Martyr_, without considering how appropriate the colouring is to the subject. There are some just observations on the necessity of transparency, which should not be confined to shadows and demi-tints, "which cannot do without it." It has been said that Titian and Correggio glazed over every part of the picture, thereby giving even the lights a sort of transparency. Of harmony of colour, he says, "Under the pencil of an intelligent artist, local colours, even the least agreeable, and those which have the least affinity among themselves, may become very agreeable to the eye, and contribute powerfully to the harmony of the picture through the interposition of some other colour, as in music discordant tones are happily united by means of intermediate ones." The translator appends to this a note in which he quotes from Mengs, that "The three primary colours being red, blue, and yellow, when any one of them is prominently used, it should be accompanied by one which unites the _other two_. Thus, if pure red be used, it should be accompanied by green, which is a compound of blue and yellow. This compound colour is called the contrasting colour, and is always used sparingly. But the harmonizing colour is said to be the compound made by any one colour itself, along with the next adjoining to it on either side of the spectrum. Thus red will be harmonized by purple, the colour produced by compounding it with blue on the one side of it, and it will also be harmonized by orange, which is the colour produced by compounding it with the yellow, next to it on the other side of the spectrum." In treating "of the effect" of a picture, although the author with a kind of reluctance admits, or "will not condemn absolutely" factitious effects, he has no predilection for them, and blames for the extravagant use of them Carravagio and others of the Italian schools. Unquestionably they afford a power which should be used with judgment, then most applicable when the supernatural of the subject overpowers the familiarity of more natural effects. Of the "_empasto_," so much spoken of by connoisseurs, he is an admirer. He directs that the "colours which compose the _empasto_" should be perfectly well ground, and the ground perfectly smoothed. Yet this was not always the case in the _empasto_ of Paul Veronese, whose _empasto_ was often of a broken and mortary surface; and it would appear, from an examination of such parts of his pictures, as if he had purposely used water with his oil-paint, which would have the effect of slightly separating the particles, and thereby giving brilliancy from the broken surface of refracting particles. This seems to have escaped the notice of M. de Burtin in this place.