Glare is always the first feature of a savage or an infant taste. The timid or barbarous beginner, afraid of impairing the splendour by diminishing the mass, exults in the Egyptian glare which he spreads over a surface unbroken by tint and not relieved by shade. Such are in general the flaming remnants of feudal decoration. This is the stage of missal painting; what Dante called "alluminar," the art of Cimabue; its taste continued, though in degrees less shocking, to the time of M. Agnolo and Raffaello. Gods, and mothers of Gods, Apostles and Martyrs, attracted devotion in proportion to the more or less gaudy colours in which they were arrayed. It was for this reason that Julius the Second wished M. Agnolo had added to the majesty of the Patriarchs and Sibyls by gold and lapis lazuli. Deception follows glare; attempts to substitute by form or colour the image for the thing, always mark the puerility of taste, though sometimes its decrepitude. The microscopic precision of Denner, and even the fastidious, though broader detail of Gherard Douw, were symptoms of its dotage. The contest of Zeuxis and Parrhasius, if not a frolic, was an effort of puerile dexterity. But Deception, though at its ultimate pitch never more than the successful mimicry of absent objects, and for itself below the aim of art, is the mother of Imitation. We must penetrate the substances of things, acquaint ourselves with their peculiar hue and texture, and colour them in detail, before we can hope to seize their principle and give their general air. Tiziano laboured first to make facsimiles of the stuffs he copied, before he changed them into drapery, and gave them local value and a place; he learnt first to distinguish tint from tint, and give the skeleton of colour, before he emboldened himself to take the greatest quantity of colour in an object for the whole; to paint flesh which abounded in demi-tints, entirely in demi-tints, and to deprive of all, that which had but a few. It was in the school of Deception he learnt the difference of diaphanous and opaque, of firm and juicy colour; that this refracts and that absorbs the light, and hence their place; those that cut and come forward, first, and those which more or less partake of the surrounding medium in various degrees of distance. It was here he learnt the contrast of the tints, of what is called warm and cold, and by their balance, diffusion, echo, to poise a whole. His eye as musical, if I may be allowed the metaphor, as his ear, abstracted here, that colour acts, affects, delights, like sound; that stern and deep-toned tints rouse, determine, invigorate the eye, as warlike sound or a deep bass the ear; and that bland, rosy, gray, and vernal tints soothe, charm, and melt like a sweet melody.