Ruskin's references to Titian in Modern Painters I are ambivalent, as are Ruskin's later assessments of Titian. His work may have 'concluding and sealing authority' but there are lessons of 'equal or greater authority' which masters such as Titian 'neither taught nor received' ( MP I:78) In Modern Painters I Titian provides a standard by which judgements can be made, yet often he is false in his presentation of nature.
Tintoretto was judged to be better than Titian, Titian and Veronese together provided a base line for the competent representation of drapery. Titian had the 'highest knowledge of landscape', he painted flowers with 'the most exquisite accuracy', he was the only person who approached Turner in his 'tree stems'.
Yet the use of colour on which his reputation had been based was 'exaggerated and false', he sacrificed truth of colour to tone, he misrepresented distances in order to achieve harmonies of tone and colour, he did not understand the nature of clouds, and - like Canaletto - he was false in his treatment of skies, of water and of the architecture of Venice.
In his criticisms of Titian, Ruskin often seems to have in mind the need to question the views of Reynolds on Titian.