Perseus and Andromeda (c1555). Oil on canvas. 175 x 190. Perseus and Andromeda is a painting by the Italian Renaissance artist Titian, now in the Wallace Collection in London. It was painted in 1554-1556 as part of a series of mythological paintings called poesie intended for King Philip II of Spain. The paintings took subjects from the Roman poet Ovid's Metamorphoses, in this case Book IV, lines 663-752, and all featured female nudes. The painting is in oils on canvas, and measures 175 x 189.5 cm. It was probably one already described as damaged in 1605, and has suffered subsequent damages, as well as apparently being cut down along all the sides. Scientific imaging techniques show an unusually large number of changes as the composition evolved. The painting shows the hero Perseus flying through the air in combat to kill the sea monster who has come to kill Andromeda, who has been chained to a cliff by the sea shore for him. Perseus has already attacked and wounded the monster on the shoulder. The painting is well-travelled; painted in Venice, it was delivered in modern Belgium, then went to Spain, Italy, England, and France before returning to England. In Greek mythology, the kingdom of Ethiopia was ruled by the beautiful but vain queen, Cassiope; she maintained that her beauty, and that of her daughter Andromeda, was superior to that of the sea nymphs, who were the daughters of Poseidon, the god of the sea. When the nymphs became aware of her claims, they protested to their father, who retaliated by calling up a Cetus or sea monster to ravage the coastline of Ethiopia placing Cassiope's kingdom at risk. On the advice of Jupiter Ammon, the Queen, together with her husband Cepheus, decided to sacrifice her daughter Andromeda to the monster. Perseus, flying back from his killing of the gorgon Medusa, kills the monster and rescues Andromeda, whom he then marries. Titian follows Ovid fairly closely, although it is likely that his Latin was poor, and he mainly relied on somewhat simplified versions in Italian, of which there was a choice. This may explain some of the differences to the Latin original, although Titian may well just have interpreted the story freely. In Ovid Andromeda's parents are nearby; here they are probably on the shore opposite, by a city. Andromeda stands amid seashells and coral. Coral is mentioned by Ovid, but as being formed from Medusa's locks at a later stage in the story. Ovid describes Andromeda as looking like a statue, and having been crying; Titian's depiction matches both. Perseus had been given his curved sword by Mercury, and his shield by Minerva. Like Mercury, he wears winged boots, and also a winged helmet. Various visual sources have been suggested, both from the rather crude woodcut illustrations of various editions of Ovid, and specific classical reliefs, as well as a well-known drawing by Michelangelo of the Risen Christ. The book illustrations all show Perseus wearing a winged helmet like Mercury, for which there is no textual justification, and carrying a small baroque parade shield, features which Titian may later have remembered. The first two of the poesie series were Danae and Venus and Adonis, delivered in 1553 and late 1554 respectively. Both of these were repetitions with variations of compositions Titian had already painted in the previous decade for the Farnese family in Rome. In a letter from Titian to Philip accompanying the Venus and Adonis, he noted that the pair offered contrasting poses, and promised another different view in both Perseus and Andromeda and a Jason and Medea he intended to produce. These were to be the first original compositions in the series for Philip, but there is no trace of the Jason and Medea, which was presumably abandoned. Instead The Rape of Europa is designed as a companion to Perseus and Andromeda. The composition of Perseus and Andromeda developed through several stages, which can be traced through x-rays and infra-red reflectography, and a surviving drawing. Some of the earlier elements can still be seen to the naked eye on close examination of the painting. At first Andromeda was on the right, in a fairly similar pose, but leaning from left to right as in the final picture. The arm to the left was raised above her head in a similar fashion, but the other arm more or less horizontal, and the head presumably looking to the centre. There is a drawing by Anthony van Dyck from his Italian sketchbook recording such a figure, probably copying a lost drawing by Titian, a rarity by this stage in his career. When Andromeda was moved to the left of the painting her pose was different from the final painting, more similar to the original one when she was on the right. There were several different positions, some taken no further than underdrawing, for Perseus' limbs, sword and shield.