**443. Titian. The Disciples at Emmaus. Treated in the contemporary Venetian manner. This is again a subject whose variations can be well traced in this gallery.
451. Titian. Allegory of a husband who leaves for a campaign, commending his wife to Love and Chastity. Finely painted.
450. Titian. Portrait of François Ier. Famous as having been painted without a sitting—the artist had never even seen the king. He took the face from a medal.
448. Titian. Council of Trent. Very much to order.
Above it, *Titian. Jupiter and Antiope. Charming Giorgionesque treatment of the pastoral nude. Compare with the Giorgione in the Salon Carré, in order to understand how deeply that great painter influenced his contemporaries.
453. Titian. Fine portrait.
439. Titian. Madonna with St. Stephen, St. Ambrose, and St. Maurice the soldier. Observe the divergence from the older method of painting the accompanying saints. Originally grouped on either side the Madonna, they are here transformed into the natural group called in Italian, a “santa conversazione.” Look at the stages of this process in the Salle des Primitifs and this Long Gallery.
442. Titian. Another Holy Family. Interesting from the free mode of its treatment, in contrast with Bellini and earlier artists.
**455. Titian. Magnificent portrait.
Above these are several excellent Bassanos, worthy of study. Compare together all these Venetian works (Bonifazio etc.), lordly products of a great aristocratic mercantile community; and with them, the Veroneses of the Salon Carré, where the type attains a characteristic development.