[3] It is this quality of unarrested movement, so conspicuous above all in the figure of Bacchus, which attracts us irresistibly in the Huntress, in Lord Brownlow's "Diana and Actaeon." The construction of the form of the goddess in this beautiful but little-known picture is admirable. Worn as the colour is, appearing almost as a monochrome, the landscape is full of atmospheric suggestion. It is in Titian's latest manner, and its ample lines and free unimpeded motion can be due to no inferior brush. [Illustration: _Titian._ DIANA AND ACTAEON. _Earl Brownlow._ (_The Medici Society, Ltd._)] Venuses, altarpieces, and portraits all tell us how boldly his own style was established. His sacred persons are not different from his pagans and goddesses. Yet though he has gone far, he still reminds us of Giorgione. He has been constant to the earliest influences which surrounded him, and to that temperament which made him accept those influences so instantaneously--and this constancy and unity give him the untroubled ascendancy over art which is such a feature of his position. With Leonardo and with Titian, painters had sprung to a recognised status in the great world of the Renaissance. They were no longer the patronised craftsmen. They had become the courted guests, the social equals. Titian, passing from the courts of Ferrara to those of Mantua and Urbino, attended by a band of assistants, was a magnificent personage, whose presence was looked upon as a favour, and who undertook a commission as one who conferred a coveted boon. Among those who clustered closest round the popular favourite, no one did more to enhance his position than Aretino, the brilliant unscrupulous debauchee, wit, bully, blackmailer, but a man who, with all his faults, had evidently his own power of fascination, and, the friend of princes, must have been himself the prince of good company. Aretino, as far as he could be said to be attached to any one, was consistent in his attachment to Titian from the time they first met at the court of the Gonzaga. He played the part of a chorus, calling attention to the great painter's merits, jogging the memory of his employers as to payments, and never ceasing to flatter, amuse, and please him. Titian, for his part, shows himself equally devoted to Aretino's interests, and has left various characteristic portraits of him, handsome and showy in his prime, sensual and depraved as age overtook him.