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formed upon the tints of autumn; whence 

 their pictures have that golden hue, which 

 gives them such a superiority over all 

 others. Their trees, foregrounds, and every 

 part of their landscapes, have more strong- 

 ly than those of any other painters, the 

 deep and rich browns of that season: the 

 same general hue prevails in the draperies 

 and even in the flesh of their figures *, 

 which has neither the silver purity of Guido, 

 nor the freshness of Rubens, but a glow 

 perhaps more enchanting than either. Sir 

 Joshua Reynolds has remarked, that the sil- 

 ver purity of Guido is more suited to beau* 

 ty, than the glowing golden hue of Titian : 

 it was natural for him to mention Guido, 



* A strong proof of this is in the Ganymede of Titian 

 in the Colonna palace, to which, by the order of the old 

 Cardinal, Carlo Maratt put a new sky of the same tone as 

 those in his own pictures : and I may say, that none but 

 such a cold insipid artist could have borne to execute, what 

 such gross unfeeling ignorance had commanded. Such a 

 sky would have been a severe trial to the flesh of any warm 

 picture, but it makes that of the Ganymede appear almost 

 black j which certainly would not have been the case, if it 

 had been painted by Rubens, or Correggio. 



