eye.

To 1538 belongs the large and beautiful picture of the _Presentation of
the Virgin Mary in the Temple_, painted for the Scuola della Carita in
Venice, which is now occupied by the Academy, where it still hangs, as
is said, in its original place. It is twenty-two feet in length, and
contains several portraits, among which are those of his daughter
Lavinia (the Virgin, as is supposed), Andrea Franchescini, grand
chancellor of Venice, in a scarlet robe; next him, in black, Lazzaro
Crasso, a lawyer, and certain monks of the convent following them.

We now find Titian employed by the Duke of Urbino on some of the
principal works of this period. Among these were the Uffizi _Venus_,
said to be a portrait of the Duchess herself. The _Girl in a Fur Mantle_
at Vienna, portraits of the Duke and of the Duchess (1537), and the
so-called _La Bella_ at the Uffizi. The so-called _Duke of Norfolk_ at
the Pitti, supposed to represent the young Duke Guidobaldo of Urbino.
Also the _Isabella d'Este_ at Vienna, and somewhat earlier, the
_Cardinal Ippolito_ in Hungarian dress, at the Pitti; and the _Daughter
of Robert Strozzi_, at Berlin.

The large _Ecce Homo_ in the Vienna Gallery, dated 1543, measuring 11
ft. 3 in. by 7 ft. 7 in. was for some years in London, and with better
fortune might still be in this country if not in our national
collection. It was one of the nineteen pictures by Titian in the
wonderful collection of Rubens, which the Duke of Buckingham persuaded
him to sell to him for a fabulous price. The collection was shipped to
England in 1625, when the pictures were taken to York House in the
Strand, and the statues and gems to Chelsea. In 1649 a portion of the
collection was sold at Brussels, and the _Ecce Homo_ was purchased there
by the Archduke Leopold for his gallery at Prague, which now forms part
of that at Vienna. The Earl of Arundel offered the Duke of Buckingham
L7000 for it--an unheard of price, especially when we remember the
greater value of money at that time.

With another masterpiece--fortunately still preserved in the Prado,
though not entirely uninjured by fire--we may close the second period.
This is the magnificent equestrian portrait of _The Emperor Charles V._
which was painted at Augsburg in 1548. A few years later the Emperor
abdicated in favour of his egregious son, Philip II., of whom Titian
painted three portraits in succession. The second of these, now in the
Prado, has an especial interes