When the "Last Supper" painted by Titian reached the Escorial, it was found to be too large for the space it was to occupy in the refectory. The king ordered it to be cut, which so distressed El Mudo that he offered to copy it in six months, in reduced size, and to forfeit his head if he did not fulfil his promise. He also added that he should hope to be knighted if he copied in six months what Titian had taken seven years to paint. But Philip was resolute, and the picture was cut, to the intense grief of the dumb Navarrete. While the painter lived Philip did not fully appreciate him; but after his death the king often declared that his Italian artists could not equal his mute Spaniard. JUAN CARRENO DE MIRANDA (1614-1685) is commonly called Carreno. He was of an ancient noble family. His earliest works were for the churches and convents of Madrid, and he acquired so good a name that before the death of Philip IV. he was appointed one of his court-painters. In 1671 the young king Charles gave Carreno the cross of Santiago, and to his office of court-painter added that of Deputy Aposentador. He would allow no other artist to paint his likeness unless Carreno consented to it. The pictures of Carreno were most excellent, and his character was such as to merit all his good fortune. His death was sincerely mourned by all who knew him. It is said that on one occasion he was in a house where a copy of Titian's "St. Margaret" hung upon the wall, and those present united in saying that it was abominably done. Carreno said: "It has at least one merit; it shows that no one need despair of improving in art, for I painted it myself when I was a beginner." Gregorio Utande, a poor artist, had painted a "Martyrdom of St. Andrew" for the nuns of Alcala, and demanded one hundred ducats for it. The nuns thought the price too much, and wished to have Carreno value the work. Utande took the picture to Carreno, and first presenting the great master with a jar of honey, asked him to touch up his St. Andrew for him. Carreno consented, and, in fact, almost repainted Utande's picture. A short time after Carreno was asked to value the St. Andrew, but declined. Then Herrera valued it at two hundred ducats, which price the nuns paid. After Utande received his money he told the whole story, and the picture was then known as "La Cantarilla de Miel," or "the pot of honey."