, too, should feel the approach of
death."

Another of his latest pictures, the _Adam and Eve in Paradise_, is in
the Prado (No. 429, formerly 456). This was copied, or one might almost
say travestied, by Rubens when he was at Madrid in 1629, and his work
was hung in the same room with it. As the colouring is of a lower tone
than is usual with Titian, and the attitudes of the figures extremely
simple and natural, the contrast is all the more marked, and was well
expressed by Cumberland, who said that "when we contemplate Titian's
picture of Adam and Eve we are convinced they never wore clothes; turn
to the copy, and the same persons seem to have laid theirs aside."

A more generous comparison between these two painters is made by
Reynolds in a note on du Fresnoy's poem on Painting respecting the
qualities of regularity and uniformity. "An instance occurs to me where
those two qualities are separately exhibited by two great painters,
Rubens and Titian: the picture of Rubens is in the Church of S.
Augustine at Antwerp, the subject (if that may be called a subject where
no story is represented) is the Virgin and Infant Christ placed high in
the picture on a pedestal with many saints about them and as many below
them, with others on the steps to serve as a link to unite the upper and
lower part of the picture. The composition of this picture is perfect in
its kind; the artist has shown the greatest skill in composing and
contrasting more than twenty figures without confusion and without
crowding; the whole appearing as much animated and in motion as it is
possible where nothing is to be done.

"The picture of Titian which we would oppose to this is in the Church
of the S. Frari at Venice (the "Pesaro Madonna," where the two donors
kneel below the Virgin enthroned). One peculiar character of this piece
is grandeur and simplicity, which proceed in a great measure from the
regularity of the composition, two of the principal figures being
represented kneeling directly opposite to each other, and nearly in the
same attitude. This is what few painters would have had the courage to
venture; Rubens would certainly have rejected so unpicturesque a mode of
composition had it occurred to him. Both these pictures are excellent in
their kind, and may be said to characterize their respective authors.
There is a bustle and animation in the work of Rubens, a quiet solemn
majesty in that of Titian. The excellence of Rubens is the pictures