me that he got the essence of the portrait while lunching with the model who, off guard, became more natural." The resulting drawings, according to John Canaday, revealed the sitters' personalities by means so subtle—and so free of cruelty—that Ingres could "expose the vanities of a fop, a silly woman, or a windbag, in drawings that delighted them." Ingres drew his portrait drawings on wove paper, which provided a smooth surface very different from the ribbed surface of laid paper (which is, nevertheless, sometimes referred to today as "Ingres paper"). The early drawings are characterized by very taut contours drawn with sharply pointed graphite, while later drawings show freer lines and more emphatic modeling, drawn with a softer, blunter graphite. Drawings made in preparation for paintings, such as the many studies for The Martyrdom of St. Symphorian and The Golden Age, are more varied in size and treatment than are the portrait drawings. It was his usual practice to make many drawings of nude models, in search of the most eloquent gesture, before making another series of drawings for the draperies. In his early years he sometimes had his model pose behind a translucent veil that suppressed details and emphasized the arabesque. He often used female models when testing poses for male figures, as he did in drawings for Jesus Among the Doctors. Nude studies exist even for some of his commissioned portraits, but these were drawn using hired models. Ingres drew a number of landscape views while in Rome, but he painted only one pure landscape, the small tondo Raphael's Casino (although two other small landscape tondos are sometimes attributed to him). Colour For Ingres, colour played an entirely secondary role in art. He wrote, "Colour adds ornament to a painting; but it is nothing but the handmaiden, because all it does is to render more agreeable the true perfections of the art. Rubens and Van Dyck can be pleasing at first sight, but they are deceptive; they are from the poor school of colourists, the school of deception. Never use bright colours, they are anti-historic. It is better to fall into gray than to into bright colours." The Institute in Paris complained in 1838 that the students of Ingres in Rome "had a deplorable lack of knowledge of the truth and power of colour, and a knowledge of the different effects of light. A dull and opaque effect