Strangely enough the years had done little or nothing to dim the lustre of the painter's work, his colour was still supremely beautiful, his feeling for landscape more intense than it had ever been, while his capacity for striking and novel composition remained a thing to wonder at. Of course Philip was not content with secular subjects, and Titian was required to paint a certain number of pictures for the Escorial, but he is best represented by his mythological subjects. Perhaps they made a more direct appeal to him because by their side the religious pictures were a little old-fashioned, and he does not seem to have faced allegorical subjects with enthusiasm. It is interesting to turn to Vasari and read some of the things he has to say about the painter at this period of his life, for although the old chronicler is not the most accurate of writers, he is at least a very interesting one and he knew Titian intimately. He says of the famous "Gloria" picture to which reference has been made--"The composition of this work was in accordance with the orders of his Majesty, who was then giving evidence of his intention to retire, as he afterwards did, from mundane affairs, to the end that he might die in the manner of a true Christian, fearing God and labouring for his own salvation." It is not difficult to imagine the emotion that this picture must have roused among those who were privileged to see it, when it came fresh from the painter's studio, to impress an age that had not forgotten to be devout.