e 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