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Updated: July 8, 2025
It is the drawing the design projected from that peculiar pictorial temperament or constitution, in which, while it may possibly be ignorant of true anatomical proportions, all things whatever, all poetry, every idea however abstract or obscure, floats up as a visible scene, or image: it is the colouring that weaving as of just perceptible gold threads of light through the dress, the flesh, the atmosphere, in Titian's Lace-girl the staining of the whole fabric of the thing with a new, delightful physical quality.
But low as the voice of Laura was, the poor little lace-girl heard it; and now, for the first time, fixing her eyes upon Laura, recollected her benefactress. "Oh, that's the young lady!" she exclaimed, in a tone of joyful gratitude, "the good, good young lady, who gave me the half- guinea, and would not stay to be thanked for it; but I WILL thank her now."
This drawing, then the arabesque traced in the air by Tintoret's flying figures, by Titian's forest branches; this colouring the magic conditions of light and hue in the atmosphere of Titian's Lace-girl, or Rubens's Descent from the Cross these essential pictorial qualities must first of all delight the sense, delight it as directly and sensuously as a fragment of Venetian glass; and through this delight only be the medium of whatever poetry or science may lie beyond them, in the intention of the composer.
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