ke manner, besides the works mentioned above, at various times
he has executed many others. In Venice, by order of Charles V, he
painted in a great altar-piece the Triune God enthroned, Our Lady and
the Infant Christ, with the Dove over Him, and the ground all of fire,
signifying Love; and the Father is surrounded by fiery Cherubim. On
one side is the same Charles V, and on the other the Empress, both
clothed in linen garments, with the hands clasped in the attitude of
prayer, among many Saints; all which was after the command of the
Emperor, who, at that time at the height of his victories, began to
show that he was minded to retire from the things of this world, as he
afterwards did, in order to die like a true Christian, fearing God and
desirous of his own salvation. Which picture the Emperor said to
Tiziano that he wished to place in the monastery wherein afterwards he
finished the course of his life; and since it is a very rare work, it
is expected that it may soon be published in engravings. The same
Tiziano executed for Queen Maria a Prometheus who is bound to Mount
Caucasus and torn by Jove's Eagle, a Sisyphus in Hell who is toiling
under his stone, and Tityus devoured by the Vulture. These her Majesty
received, excepting the Prometheus, and with them a Tantalus of the
same size (namely, that of life), on canvas and in oils. He executed,
also, a Venus and Adonis that are marvellous, she having swooned, and
the boy in the act of rising to leave her, with some dogs about him
that are very natural. On a panel of the same size he represented
Andromeda bound to the rock, and Perseus delivering her from the
Sea-Monster, than which picture none could be more lovely; as is also
another of Diana, who, bathing in a fount with her Nymphs, transforms
Actaeon into a stag. He also painted Europa passing over the sea on the
back of the Bull. All these pictures are in the possession of the
Catholic King, held very dear for the vivacity that Tiziano has given
to the figures with his colours, making them natural and as if alive.

[Illustration: PHILIP II

(_After the painting by =Tiziano=. Naples: Museo Nazionale_)

_Anderson_]

It is true, however, that the method of work which he employed in
these last pictures is no little different from the method of his
youth, for the reason that the early works are executed with a certain
delicacy and a diligence that are incredible, and they can be seen
both from near and from a distan