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 412 Painting in Venice. and the flames of the burning pitch. In both we see faith and mental fortitude triumphant over physical agony. The representation of suffering was not, however, at all congenial to the great lover of sensual beauty, whose peculiar excellences found fuller scope in the lighter and more cheerful subjects of heathen mythology, or of alle- gory ; and the original genius he brought to bear upon the worn-out fables of antiquity is well illustrated in his Diana and Callisto, so often repeated, and in the celebrated Venus of the Uffizi, Florence ; the Bacchus and Ariadne and Venus and Adonis, both in the National Gallery ; the Dande at Naples, the famous Venus del Prado in the Louvre, and many other similar works. Of his allegorical pictures, the most famous are the Three Ages, represent- ing a young shepherd and a beautiful maiden seated on the grass, with three winged children on one side, and an old man in the distance on the other; and Sacred arid Profane Love, symbolized by two beautiful women seated on the rim of a fountain, now in the Borghese Palace, Rome. Titian's portraits are very numerous. Many of the finest are in England : one, for instance, in the Hamp- ton Court Palace, of a dark man, with a face full of eloquence and feeling; another in the National Gallery; and two at Windsor Castle — one of a certain Andrea Franchesini, and one of Titian himself. More famous than either of these, however, are the portrait of a lady in the Sciarra Palace, Rome, known as Titian's Bella Donna ; that of his daughter, in the Berlin Museum ; and that of Paul III. (1545), in the Naples Museum. A list of Titian's portraits would include all the celebrities of his time.