-Adoration-of-the-Child-with-Angels-Saints-and-Donor-1505-tempera-on-panel-Galleria-Sabauda-Turin.png) |
| Macrino d'Alba (Gian Giacomo d'Alladio) Adoration of the Child with Angels, Saints and Donor 1505 tempera on panel Galleria Sabauda, Turin |
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| Daniel Hopfer Interior of Church of St Katharina in Augsburg with the Parable of the Widow's Mite ca. 1510 etching Museum für Angewandte Kunst, Vienna |
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| Peeter Neeffs the Younger Interior of Antwerp Cathedral ca. 1660 oil on panel Liechtenstein Museum, Vienna |
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| Cornelia Pabst Interior of the Church at Harderwijk 1917 oil on canvas Kröller-Müller Museum, Otterlo, Netherlands |
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| Gian Paolo Panini Interior of the Pantheon, Rome 1735 oil on canvas Liechtenstein Museum, Vienna |
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| Wenceslaus Hollar Garter Feast in the Time of Charles I 1672 etching (book illustration) Fitzwilliam Museum, Cambridge |
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| Adolph Menzel Coronation of Kaiser Wilhelm I 1864 gouache on paper (sketch for painting) Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Lorenzo Sacchetti Stage Design ca. 1781-84 drawing Graphische Sammlung Albertina, Vienna |
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| François de Nomé Palatial Interior 1620 oil on canvas Museum de Fundatie, Zwolle, Netherlands |
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| Donat Hübschmann Arch for Triumphal Entry of Emperor Maximilian II into Vienna 1563 woodcut Graphische Sammlung Albertina, Vienna |
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| Gaetano Gandolfi Marriage at Cana ca. 1770-80 drawing Graphische Sammlung Albertina, Vienna |
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| Giuseppe Galli-Bibiena Fantastic Arcade with Figures before 1757 drawing Graphische Sammlung Albertina, Vienna |
-Compositional-Study-for-Pentecost-c1600-1610-drawing-Graphische-Sammlung-Albertina-Vienna.jpg) |
| Cigoli (Lodovico Cardi) Compositional Study for Pentecost ca. 1600-1610 drawing Graphische Sammlung Albertina, Vienna |
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| Rudolf von Alt Staircase of the Vienna Court Opera 1873 watercolor and gouache on paper Liechtenstein Museum, Vienna |
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| workshop of Daniel Hopfer Christ and the Woman taken in Adultery before 1536 etching Graphische Sammlung, ETH Zürich |
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| Joseph Höger Interior of the Grenzschloss 1839 watercolor on paper Liechtenstein Museum, Vienna |
Vasari returns to this problem in his discussion of Titian's late manner. "Certainly his way of procedure in these last works differs greatly from that of his youth, for the early works are executed with a certain refinement and an incredible industry so that they can be seen at close quarters and from afar, while his last ones are executed with crudely daubed strokes and blobs in such a way that one sees nothing at close quarters, though they look perfect from a distance. That was the reason why many who wanted to imitate him in this to show themselves practiced masters have made crude paintings, for though it may seem that such paintings are done without effort, this is not true at all."
Titian's late manner became proverbial in the theory of art because of this magic of transformation. Lomazzo tells of a visit by Aurelio Luini to the workshop of the aged master: "There he saw a miraculous landscape painting which at first glance appeared to Aurelio a mere daub, but when he stepped far back it looked to him as if the sun shone inside and made the roads recede here and there."
Vasari's influential book carried the message to the North that the traditional method of meticulous care in the finish of paintings was only one of two possible approaches. In his didactic poem on the art of painting, which was written about 1600, Carel van Mander translated Vasari's account of Titian's manners into a rhymed stanza and continued: "And herewith, apprentices, I wanted to place before your eyes two perfect manners toward which you may now guide your path according to your bent, but I should still advise you to begin by applying yourselves to the neat manner."
The Dutch connoisseur who had read his van Mander would therefore know there was a place in the kingdom of art for both Dou with his painstaking attention to smooth finish, and for Frans Hals or the late Rembrandt. One of Rembrandt's few utterances about his art that have been preserved proclaims his adherence to the second manner: "Don't poke your nose into my pictures," he is reported to have said, "the smell of paint will poison you."
– E.H. Gombrich, Art and Illusion: a Study in the Psychology of Pictorial Representation (Princeton University Press, 1960)
