[Footnote 53:  This picture was presented by Philip IV. to Prince Charles of England, and was, at the sale of his collection, acquired by Jabach for L600, and from him bought by Cardinal Mazarin, whose heirs sold it to Louis XIV.  The Cardinal thus possessed the two finest representations of the Jupiter and Antiope legend—­that by Correggio (also now in the Louvre) and the Titian.  It was to these pictures especially that his touching farewell was addressed a few hours before his death.]

[Footnote 54:  See Crowe and Cavalcaselle, vol. ii., Appendix, p. 340.]

[Footnote 55:  See as to the vicissitudes through which the picture has passed an article, “Les Restaurations du tableau du Titien, Jupiter et Antiope” by Fernand Engerand, in the Chronique des Arts of 7th May 1898.]

[Footnote 56:  This picture came to England with the Orleans Gallery, and was until lately at Cobham Hall in the collection of the Earl of Darnley.  It has now passed into that of Mrs J.L.  Gardner of Boston, U.S.  It is represented in the Prado Gallery by Rubens’s superb copy.  A Venetian copy on a very small scale exists in the Wallace Collection.]

[Footnote 57:  A very clever adaptation of this work is No. 490 in the Prado Gallery under the name of the master.  It is remarkable for the contrast between the moonlight which irradiates the Christ and the artificial light supplied by the lantern carried by one of the soldiers.]

[Footnote 58:  This picture is mentioned in the list of 1574 furnished by Titian to Secretary Antonio Perez.  A Perseus and Andromeda by, or attributed to, Titian was in the Orleans Gallery.  Is this the canvas now in the Wallace Collection, but not as yet publicly exhibited there?  This last piece was undoubtedly produced in the entourage and with the assistance of Titian, and it corresponds perfectly to Vasari’s description of the Deliverance of Andromeda.  It has the loose easy touch of the late time, but obscured as it at present is by dirt and successive coats of now discoloured varnish, no more definite opinion with regard to its merits can be given.  No. 135 in the Hermitage is a canvas identical in subject and dimensions with this last-named picture.  It was once attributed to Tintoretto, but is now put down to the school of Titian.]

[Footnote 59:  Somewhat earlier in the order of the late works should come in, if we may venture to judge from the technique of a work that is practically a ruin, the Adam and Eve of the Prado, in which, for the usual serpent with the human head of the feminine type, Titian has substituted as tempter an insignificant amorino.  Far more enjoyable than this original in its present state is the magnificent copy, with slight yet marked variations, left behind by Rubens.  This is also to be found in the Prado.  A drawing by the great Antwerper from Titian’s picture is in the Louvre.  This is more markedly Flemish in aspect than the painted canvas, and lacks the foolish little Love.]