It is unknown whether the painting had an intended recipient; Titian's main client in his last years was King Philip II of Spain, but the picture is not mentioned in the surviving correspondence.Hale, 711-712 The painting may well be one of those still in Titian's studio at his death in 1576.Robertson, 231 There are a number of these, including for example The Death of Actaeon in the National Gallery, London (certainly intended for Philip),Penny, 250–252 and there is a general argument as to whether they should be regarded as finished or not. In this case the signature and areas of detailed finish may suggest that the painting had been completed.Penny, 250–252; Robertson, 231; Jaffé, 25–28, 59, 151–152 (with both points of view expressed by different authors). The painting was in this exhibition, but not in the catalogue; Gowing, and Penny's letter in response below, which may indicate a shifted position; in 1984 Penny emphasizes unfinished aspects, in 2008 those suggesting completion.
