Sir Abraham Hume, the accomplished annotator of _The Life and Works of
Titian_, observes: “It appears to be generally understood that Titian
had, in the different periods of life, three distinct manners of
painting: the first hard and dry, resembling his master, Giovanni
Bellino; the second, acquired from studying the works of Giorgione, was
more bold, round, rich in colour, and exquisitely wrought up; the third
was the result of his matured taste and judgment, and, properly
speaking, may be termed his own--in which he introduced more cool tints
into the shadows and flesh, approaching nearer to nature than the
universal glow of Giorgione.”
After stating what little is known of the mechanical means employed by
Titian in the colouring of his pictures, Sir Abraham remarks: “Titian’s
grand secret of all appears to have consisted in the unremitting
exercise of application, patience, and perseverance, joined to an
enthusiastic attachment to his art: his custom was to employ
considerable time in finishing his pictures, working on them repeatedly,
till he brought them to perfection; and his maxim was, that whatever was
done in a hurry, could not be well done.” In manner and character, as
well as talent, Titian may not inappropriately be associated with the
most eminent painter this country ever produced, Sir Joshua Reynolds.