Aretino wrote to his friend Titian on 9 November 1527 that an angel painted by Titian 'has celestial majesty in his countenance, and his cheeks tremble in the gentle softness compounded of milk and blood that the harmonious blend of your colouring counterfeits true to life' (quoted in Biadene and Yakush, Titian: Prince of Painters, Venice: Palazzo Ducale, p. 53).
Kugler comments:
In the representation of the naked female form, Titian displays peculiar mastery; the magic of his colouring is here developed in it fullest power. It must be remarked, however, that this very mastery over his materials not unfrequently betrays him into an ostentatious exhibition of it, so that where we look for artlessness, for example in the freedom of domestic retirement, we find sometimes a studied display of beautiful limbs. ( Kugler, ed. Eastlake, Handbook of the History of Painting, Part One, The Italian Schools, First Edition, p. 364)
Turner himself takes a more senual view in his account of Titian's Cambridge Venus:
Brilliant, clear, and with deep-toned shadows, it makes up the equilibrium of the whole by contrasting its variety with the pulpy softness of the female figure, glowing with all the charms of colour, bright, gleaming, mellow, full of all the voluptuous luxury of female charms, rich and swelling. The sight must return and rest there, although the landscape insensibly draws the eye away to contemplate how valuable is its introduction. To keep up that union of interest and support its assistance in attracting the eye from the right hand of the picture can be no small honour. (quoted in Wethey, The Paintings of Titian: Complete Edition, III. p. 67)