[Footnote 51: This great piece is painted on a canvas of peculiarly
coarse grain, with a well-defined lozenge pattern. It was once owned by
Van Dyck, at the sale of whose possessions, in 1556, a good number of
years after his death, it was acquired by Algernon Percy, Earl of
Northumberland. In 1873 it was in the exhibition of Old Masters at the
Royal Academy.]

[Footnote 52: The best repetition of this Hermitage _Magdalen_ is that
in the Naples Museum; another was formerly in the Ashburton Collection,
and yet another is in the Durazzo Gallery at Genoa. The similar, but not
identical, picture in the Yarborough Collection is anything but "cold in
tone," as Crowe and Cavalcaselle call it. It is, on the contrary, rich
in colour, but as to the head of the saint, much less attractive than
the original.]

[Footnote 53: This picture was presented by Philip IV. to Prince Charles
of England, and was, at the sale of his collection, acquired by Jabach
for £600, 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.]