Of this Hermitage _Danaë_ there is a replica in the collection of the
Duke of Wellington at Apsley House. In yet another version (also a
contemporary atelier piece), which is in the Imperial Gallery at Vienna,
and has for that reason acquired a certain celebrity, the greedy duenna
is depicted in full face, and holds aloft a chased metal dish.

Satisfaction of a very different kind was afforded to Queen Mary of
Hungary and Charles V. The lady obtained a _Christ appearing to the
Magdalen_, which was for a long time preserved at the Escorial, where
there is still to be found a bad copy of it. A mere fragment of the
original, showing a head and bust of Christ holding a hoe in his left
hand, has been preserved, and is now No. 489 in the gallery of the
Prado. Even this does not convince the student that Titian's own brush
had a predominant share in the performance. The letter to Charles V.,
dated from Venice the 10th of September 1554, records the sending of a
_Madonna Addolorata_ and the great _Trinity_. These, together with
another _Virgen de los Dolores_ ostensibly by Titian, and the _Ecce
Homo_ already mentioned, formed afterwards part of the small collection
of devotional paintings taken by Charles to his monastic retreat at
Yuste, and appropriated after his death by Philip. If the picture styled
_La Dolorosa_, and now No. 468 in the gallery of the Prado, is indeed
the one painted for the great monarch who was so sick in body and
spirit, so fast declining to his end, the suspicion is aroused that the
courtly Venetian must have acted with something less than fairness
towards his great patron, since the _Addolorata_ cannot be acknowledged
as his own work. Still less can we accept as his own that other _Virgen
de los Dolores_, now No. 475 in the same gallery.

[Illustration: Landscape drawing in pen and bistre by Titian.]