al perturbation which belonged both to the man in
advanced years and to the particular moment in the century. Even in his
treatment of classic myth, of the nude in goddess and woman, there was,
as we shall see presently, a greater unrest and a more poignant
sensuality--there was evidence of a mind and temperament troubled anew
instead of being tranquillised by the oncoming of old age.

Are we to place here, as Crowe and Cavalcaselle do, the _Venus and
Cupid_ of the Tribuna and the _Venus with the Organ Player_ of the
Prado? The technical execution of these canvases, the treatment of
landscape in the former, would lead the writer to place them some years
farther on still in the _oeuvre_ of the master. There are, however,
certain reasons for following them in this chronological arrangement.
The _Venus and Cupid_ which hangs in the Tribuna of the Uffizi, as the
pendant to the more resplendent but more realistic _Venus of Urbino_, is
a darker and less well-preserved picture than its present companion, but
a grander if a more audacious presentment of the love-goddess. Yet even
here she is not so much the Cytherean as an embodiment of the Venetian
ideal of the later time, an exemplification of the undisguised worship
of fleshly loveliness which then existed in Venice. It has been pointed
out that the later Venus has the features of Titian's fair daughter
Lavinia, and this is no doubt to a certain extent true. The goddesses,
nymphs, and women of this time bear a sort of general family resemblance
to her and to each other. This piece illustrates the preferred type of
Titian's old age, as the _Vanitas, Herodias_, and _Flora_ illustrate the
preferred type of his youth; as the paintings which we have learnt to
associate with the Duchess of Urbino illustrate that of his middle time.
The dignity and rhythmic outline of Eros in the _Danae_ of Naples have
been given up in favour of a more naturalistic conception of the
insinuating urchin, who is in this _Venus and Cupid_ the successor of
those much earlier _amorini_ in the _Worship of Venus_ at Madrid. The
landscape in its sweeping breadth is very characteristic of the late
time, and would give good reason for placing the picture later than it
here appears. The difficulty is this. The _Venus with the Organ
Player_[39] of Madrid, which in many essential points is an inferior
repetition of the later _Venus_ of the Tribuna, contains the portrait of
Ottavio Farnese, much as we see him in t