exalted one which is reproduced in the _Ecce Homo_ of Madrid, and in the
many repetitions and variations related to that picture, which cannot
itself be accepted as an original from the hand of Titian.]

[Footnote 38: Vasari saw a _Christ with Cleophas and Luke_ by Titian,
above the door in the Salotta d'Oro, which precedes the Sala del
Consiglio de' Dieci in the Doges' Palace, and states that it had been
acquired by the patrician Alessandro Contarini and by him presented to
the Signoria. The evidence of successive historians would appear to
prove that it remained there until the close of last century. According
to Crowe and Cavalcaselle the Louvre picture was a replica done for
Mantua, which with the other Gonzaga pictures found its way into Charles
I.'s collection, and thence, through that of Jabach, finally into the
gallery of Louis XIV. At the sale of the royal collection by the
Commonwealth it was appraised at £600. The picture bears the signature,
unusual for this period, "Tician." There is another _Christ with the
Pilgrims at Emmaus_ in the collection of the Earl of Yarborough, signed
"Titianus," in which, alike as to the figures, the scheme of colour, and
the landscape, there are important variations. One point is of especial
importance. Behind the figure of St. Luke in the Yarborough picture is a
second pillar. This is not intended to appear in the Louvre picture; yet
underneath the glow of the landscape there is just the shadow of such a
pillar, giving evidence of a _pentimento_ on the part of the master.
This, so far as it goes, is evidence that the Louvre example was a
revised version, and the Yarborough picture a repetition or adaptation
of the first original seen by Vasari. However this may be, there can be
no manner of doubt that the picture in the Long Gallery of the Louvre is
an original entirely from the hand of Titian, while Lord Yarborough's
picture shows nothing of his touch and little even of the manner of his
studio at the time.]