181. Colour in Raffaelle was the assistant of expression; to Titian it was the vehicle of truth; Correggio made it the minister of harmony. It was sometimes seized, and though reluctant held, but oftener neglected by the first; it was embraced, it domineered over, it coalesced with the second; it attended the third like an enchanted spirit. 182. Lodovico Carracci was the first who gave in oil the colours of gravity, the dignified twilight of cloistered meditation. 183. Annibale Carracci, from want of feelings, though impressed by a grave principle, changed the mild evening-ray of his master to the bleak light of a sullen day. 184. Colour owes its effect sometimes more to position and gradation than to its intrinsic value.[37] 185. The colour of Titian is the most independent of surrounding objects; their union may assist, but their discrepance cannot destroy it. 186. The harmony of Correggio is independent of colour. 187. Historic colour imitates, but copies not. 188. The portrait-painter copies the colour of his object, but chooses the medium through which that object is seen. 189. The mixtures that anticipate the beauties of time are big with the seeds of premature decay. 190. The colours of health are neither cadaverous nor flushed like meteors. 191. There are works whose effect is entirely founded on the contrast of tints, of what is termed warm and cold colour, and on reflected hues: strip them of this charm, reduce them to the principles of light and shade and masses, and as far as the want of those can degrade a picture, they will be fit to take their places on sign-posts. 192. Him who has freshness without frigidity, who glows without being adust, whose tints luxuriate though not fermented by putrefaction; who is juicy yet not clammy, though broad not empty, sharp without dryness, clear not pellucid, airy not volatile, without being clumsy plump--him you may venture to call a colourist. 193. Breadth is not vacuity--Breadth might easily be obtained if emptiness could give it. 194. The forms of virtue are erect, the forms of pleasure undulate: Minerva's drapery descends in long uninterrupted lines; a thousand amorous curves embrace the limbs of Flora. 195. Subordination is the character of drapery. The heraldry of dress, the rows of aggregated mitres and pontifical trappings, are noticed only for the sake of their wearers in the compositions of the Vatican.