The nudes and mythologies of these final years, the various Danae’s and the Nymph and Faun at Vienna, the Calisto and Actæon at Bridgewater House, the Venus and Adonis at Madrid, all show a very different temper from the early poesies. There is no suggestion of meditative dalliance, no shy Arcadianism. These are mortals stung and lashed by desire. Love is not sweet on their lips but bitter and fateful. Even Europa, Figure 290, at Fenway Court, the finest of these later poesies, seems to fill the sunlight sky and sea with a spasm of erotic expectancy. Passion becomes cosmic. Strange capacities for tenderness also appear. Compare the Deposition in the Prado, Figure 291, of 1559, with the masterpiece of forty years earlier, Figure 273, at the Louvre. The noble domelike arrangement persists, but within the compositional dome what a change! The body of the Christ is no longer grandly disposed. It crumples as it is turned into the tomb. The thing has the unexpectedness of fact. The canvas is soberly incandescent with half-lit faces which gleam through the deep grays and browns. Each light is a focus of compassion. Titian himself, impersonating St. Joseph of Arimathea, supports the Christ. [Illustration: FIG. 291. Titian. The Entombment.—_Madrid._ ] [Illustration: FIG. 292. Titian. Education of Cupid.—_Borghese, Rome._ ] In one of the latest poesies, the Education of Cupid, Figure 292, at the Borghese, Rome, the new method may be studied. The forms are built up of little and apparently indeterminate touches of russets and grays that glow from within. The form builds itself out vibratingly. It is no longer as palpable to the hand as that of the early Titians, but it is more palpable to the eye and to the mind. Tone has driven out color; atmospheric envelopment has replaced minute description; the artist merely creates gradations of light which afford the illusion of bulk. It is what we call today, rather loosely, impressionism, or, more accurately, luminism. In the character of these goddesses we have no longer wistfulness, that ineffable adolescent quality of Titian’s early poesies, but women fully conscious of their power to give or take away.