With loving care he painted Irene of Spilimberg, who died at twenty, and whose fame in classic learning, in music, painting, and poetry, was celebrated in sonnets and prose at her death. She was a pupil of Titian, a fit representative of an age which produced among learned men such women as Vittoria Colonna and Veronica Gambara. Irene is painted "almost at full length and large as life, in a portico, from which a view is seen of a landscape, with a shepherd tending his flock, and a unicorn to indicate the lady's maiden condition. Her head is turned to the left, showing auburn hair tied with a string of pearls. Round her throat is a necklace of the same. Her waist is bound with a chain girdle, and over her bodice of red stuff a jacket of red damask silk is embroidered with gold, and fringed at the neck with a high standing muslin collar. A band hanging from the shoulders and passing beneath one arm is held in the right hand, whilst the left is made to grasp a laurel crown, and 'Si fata tulissent' is engraved on the plinth of a pillar." The "Epiphany," now in Madrid, was sent to Philip II., in 1560; a "Magdalen," now in the Hermitage, in 1561; "Christ in the Garden," "Europa and the Bull," and "Jupiter and Antiope," in 1562. Titian wrote to Philip, "I had determined to take a rest for those years of my old age which it may please the majesty of God to grant me; still ... I shall devote all that is left of my life to doing reverence to your Catholic Majesty with new pictures." "Europa," says Sweetser, "is a lovely and scantily clad maiden sitting on the back of a flower-garlanded white bull, who is swimming proudly through the green sea, throwing a line of foaming surge before his breast. In the air are flying Cupids, and the nymphs on the distant shore bewail the loss of their companion." "Jupiter and Antiope," now in the Louvre, formerly called the "Venus of Pardo," is very celebrated. "Though injured by fire, travels, cleaning, and restoring," says Crowe, "the masterpiece still exhibits Titian in possession of all the energy of his youth, and leads us back involuntarily to the days when he composed the Bacchanals. The same beauties of arrangement, form, light, and shade, and some of the earlier charms of color, are here united to a new scale of effectiveness due to experience and a magic readiness of hand. Fifty years of practice were required to bring Titian to this mastery. Distribution, movement, outline, modelling, atmosphere and distance, are all perfect." The following year, 1563, Titian sent to Philip "The Last Supper," with thirteen life-sized figures, upon which he had worked for six years. When it was carried to the Escurial, in spite of the protests of the painter Navarrete, the monks cut off a large piece of the upper part of the canvas, to make it the size of the wall of the refectory!