. The Venetian School of Painting. eror flinging himself from his goldenchariot drawn by panthers, his deep red mantlefluttering on high, is so full of reckless life thatour spirit bounds with him. His rioting band,marching with song and laughter, seems topeople that golden country-side with fit inhabit-ants. The careless satyrs and little merry,goat-legged fauns shock us no more than a herdof forest ponies, tossing their manes and dashingalong for love of life and movement.^ Yet almostbefore this series was put in place Titian was 1 It is this quality of unarrested movement, so conspicuousabo
. The Venetian School of Painting. eror flinging himself from his goldenchariot drawn by panthers, his deep red mantlefluttering on high, is so full of reckless life thatour spirit bounds with him. His rioting band,marching with song and laughter, seems topeople that golden country-side with fit inhabit-ants. The careless satyrs and little merry,goat-legged fauns shock us no more than a herdof forest ponies, tossing their manes and dashingalong for love of life and movement.^ Yet almostbefore this series was put in place Titian was 1 It is this quality of unarrested movement, so conspicuousabove all in the figure of Bacchus, which attracts us irresistibly inthe Huntress, in Lord Brownlows Diana and Actaeon. Theconstruction of the form of the goddess in this beautiful but little-known picture is admirable. Worn as the colour is, appearingalmost as a monochrome, the landscape is full of atmosphericsuggestion. It is in Titians latest manner, and its ample lines andfree unimpeded motion can be due to no inferior brush. 160. TITIAN showing the diversity of his genius by the Deposition, now in the Louvre, which waspainted at the instance of the Gonzaga, Marquisof Mantua and nephew of Alfonso dEste. Herehe makes a great step in the use of it is satisfying in balance and sweepingrhythm, and by the way in which every linefollows and intensifies the helpless, slackenedlines of the dead Body, it escapes Raphaelsacademic treatment of the same subject. Itssplendid colours are not noisy ; they merge intoa -scene of solemn pathos and tragedy. Thescene has a simplicity and unity in its passion,and what above all gives it its intense power isthe way in which the flaming hues are absorbedinto the twilight shadows. The dark headsstand out against the dying sunset, the pallorof the dead is half veiled by the falling is a picture which has the emotional beautyof a scene in nature, and makes a profoundimpression by its depth and mystery. Thissame solemnity and
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