e painted many of his best works for the Spanish court,
first for the Emperor Charles V., and next for his successor, Philip
II., who is known to have given him numerous commissions to decorate
the Escurial and the royal palaces at Madrid. There are numerous
duplicates of some of his works, considered genuine, some of which he is
supposed to have made himself, and others to have been carefully copied
by his pupils and retouched by himself; he frequently made some slight
alterations in the backgrounds, to give them more of the look of
originals; thus the original of his Christ and the Pharisees, or the
Tribute Money, is now in the Dresden Gallery, yet Lanzi says there are
numerous copies in Italy, one of which he saw at St. Saverio di Rimini,
inscribed with his name, which is believed to be a duplicate rather than
a copy. There are more than six hundred engravings from his pictures,
including both copper-plates and wooden cuts. He is said to have
engraved both on wood and copper himself, but Bartsch considers all the
prints attributed to him as spurious, though a few of them are signed
with his name, only eight of which he describes.

TITIAN'S IMITATORS.

Titian, the great head of the Venetian school, like Raffaelle, the head
of the Roman, had a host of imitators and copyists, some of whom
approached him so closely as to deceive the best judges; and many works
attributed to him, even in the public galleries of Europe, were
doubtless executed by them.

TITIAN'S VENUS AND ADONIS.

This chef-d'oeuvre of Titian, so celebrated in the history of art,
represents Venus endeavoring to detain Adonis from the fatal chase.
Titian is known to have made several repetitions of this charming
composition, some of them slightly varied, and the copies are almost
innumerable. The original is supposed to have been painted at Rome as a
companion to the Danae, for the Farnese family, about 1548, and is now
in the royal gallery at Naples. The most famous of the original
repetitions is that at Madrid, painted for King Philip II., when prince
of Spain, and about the period of his marriage with Queen Mary of
England. There is a fine duplicate of this picture in the English
National Gallery, another in the Dulwich gallery, and two or three more
in the private collections of England. Ottley thus describes this
picture:--

"The figure of Venus, which is seen in a back view, receives the
principal light, and is without drapery, sav