For absolute delight in colour let us turn to a picture like the "Noli me tangere" of the National Gallery. The golden light, the blues and olives of the landscape, the crimson of the Magdalen's raiment, combine in a feast of emotional beauty, emphasising the feeling of the woman, whose soul is breathed out in the word "Master." The colour unites with the light and shadow, is embedded in it; and we can see Titian's delight in the ductile medium which had such power to give material sensation. In these liquid crimsons, these deep greens and shoaling blues, the velvety fulness and plenitudes of the brush become visible; we can look into their depths and see something quite unlike the smooth, opaque washes of the Florentines. In such a masterpiece as "Sacred and Profane Love," painted during these years for the Borghese, there are summed up all those artistic aims towards which the Venetian painters had been tending. The picture is still Giorgionesque in mood. It may represent, as Dr. Wickhoff suggests, Venus exhorting Medea to listen to the love-suit of Jason; but the subject is not forced upon us, and we are more occupied with the contrast between the two beautiful personalities, so harmoniously related to each other, yet so opposed in type. The gracious, self-absorbed lady, with her softly dressed hair, her loose glove, her silvery satin dress, is a contrast in look and spirit to the goddess whose free, simple attitude and outward gaze embody the nobler ideal. The sinuous and enchanting line of Venus's figure against the crimson cloak has, I think, been the outcome of admiration for Giorgione's "Sleeping Venus," and has the same soft, unhurried curves. Titian's two figures are perfectly spaced in a setting which breathes the very aroma of the early Renaissance. A bas-relief on the marble fountain represents nymphs whipping a sleeping Love to life, while a cupid teases the chaste unicorn. A delicious baby Love splashes in the water, fallen rose-leaves strew the mellow marble rim, around and away stretches a sunny country scene, in which people are placidly pursuing a life of ease and pleasure. What a revelation to Venice these pictures were which began with Giorgione's conversaziones! How little occupied the women are with the story. Venus does not argue, or check off reasons on her fingers, like S. Ursula. Medea is listening to her own thoughts, but the whole scene is bathed in the suggestion of the joy and happiness of love. The little censer burning away in the blue and breathless air might be a philtre diffusing sensuous dreams, and when the rays of the evening sun strike the picture, where it now hangs, and bring out each touch of its glowing radiance, it seems to palpitate with the joy of life and to thrill with the magic of summer in the days when the world was young.