This picture (formerly in the Colonna Palace at Rome) is probably a studio-repetition of an original which is now at Madrid, and which was painted by Titian for Philip II. of Spain, then King-Consort of England. It was forwarded to him in London in 1554. The picture is thus forty years later than the "Bacchus and Ariadne," and critics find in it not unjustly a lack of the finer poetry which characterises the earlier classical works of the master. "That the aim of the artist was not a very high one, or this _poesia_ very near to his heart, is demonstrated by the curiously material fashion in which he recommends it to his royal patron. He says that 'if in the _Danaë_ (now at Naples) the forms were to be seen front-wise, here was occasion to look at them from a contrary direction--a pleasant variety for the ornament of a _camerino_.' Our worldly-wise painter evidently knew that material allurements as well as supreme art were necessary to captivate Philip" (Claude Philips: _The Later Work of Titian_, p. 80). 35. BACCHUS AND ARIADNE. _Titian_ (Venetian: 1477-1576). _See_ 4. A picture which is at once a school of poetry and a school of art--"in its combination of all the qualities which go to make a great work of art possibly the finest picture in the world" (Poynter). It is a translation on canvas of the scene described in Catullus, where Bacchus, the wine-god, returning with his revel rout from a sacrifice, finds Ariadne on the seashore, after she had been deserted by Theseus, her lover. Bacchus no sooner sees her than he is enamoured and determines to make her his bride-- Bounding along is blooming Bacchus seen, With all his heart aflame with love for thee, Fair Ariadne! and behind him, see, Where Satyrs and Sileni whirl along, With frenzy fired, a fierce tumultuous throng.... There some wave thyrsi wreathed with ivy, here Some toss the limbs of a dismembered steer.... Others with open palms the timbrel smite, Or with their brazen rods make tinklings light. _Carmen_ lxiv.: Sir T. Martin's translation.