While dinner was preparing, the Deacon and I walked up to Pieve di Cadore, the birthplace of Titian. The house in which the great painter first saw the colours of the world is still standing, and tradition points out the very room in which he began to paint. Iam not one of those who would inquire too closely into such a legend as this. The cottage may have been rebuilt a dozen times since Titian's day; not a scrap of the original stone or plaster may remain; but beyond a doubt the view that we saw from the window is the same that Titian saw. Now, for the first time, I could understand and appreciate the landscape-backgrounds of his pictures. The compact masses of mountains, the bold, sharp forms, the hanging rocks of cold gray emerging from green slopes, the intense blue aerial distances--these all had seemed to be unreal and imaginary--compositions of the studio. But now I knew that, whether Titian painted out-of-doors, like our modern impressionists, or not, he certainly painted what he had seen, and painted it as it is.
