Holland might be excepted, and in Holland similar causes may have had a similar influence.

Local colour; literally, the blot.

Zanetti ventures to single out the picture of Tobit and the Angel in S. Marziale as the first example of Titian's own manner, and in which a direct imitation of Giorgione is no longer apparent. In this picture the lights are cool and the blood-tint very effective.

"Meno sfumato, men focoso."—Storia Pittorica.

"La prima cosa che de' colori si perde nelle distante è il lustro, loro minima parte."—Trattato, p. 213; and elsewhere, "I lumi principali in picciol luogo son quelli che in picciola distanza sono i primi che si perdono all' occhio."—p. 128.

A colossal St. Christopher, the usual subject, is frequently seen occupying the whole height of the external wall of a church. We have here an example of the influence of religion, such as it was, even on the style of colouring and practical methods of the art. The mere sight of the image of St. Christopher, the type of strength, was considered sufficient to reinvigorate those who were exhausted by the labours of husbandry. The following is a specimen of the inscriptions inculcating this belief:— "Christophori Sancti speciem quicumque tuetur, Illo namque die nullo languore tenetur." Hence the practice of painting the figure on the outside of churches, hence its colossal size, and hence the powerful qualities in colour above described. See Maniago, "Storia delle Belle Arti Friulane."