The character of Titian's later Venuses and Danaes, however, seems to place them on an infinitely lower level. They are beautiful, but vulgar in comparison to the Sacred and Profane Love. Also the fact that they were produced in an extraordinary number of replicas does not encourage an attempt to look in them for purity of thought . . . . In brief, the suspicion can hardly be avoided that these pictures were rather 'ornamental furniture' than profound philosophical treatises. And the rooms which they . . . were supposed to decorate, were bedrooms." The Prado's two versions The earliest record of a version of the composition is one with an organist known to have been painted for Charles V, Holy Roman Emperor when Titian was in Augsburg in 1548, which the emperor then gave to his minister, Cardinal Granvelle. But it is not certain which this is, though both versions in the Museo del Prado in Madrid have been asserted to be it, especially the Venus with an Organist and Dog, the wider of the two (148 x 217 cm; this is Prado 420). This is now thought by the Prado to date to about 1550, so ruling it out of being the original Cardinal Granvelle picture, which was the usual opinion until the Prado revised its date recently. It has a dog and is the only version discussed here with no Cupid. Following the Prado's redating, the version given by Charles V to Granvelle is regarded as missing, and presumed lost. Although lacking Venus' attribute of Cupid, the painting is always recorded as showing the goddess. Unlike other versions, it is thought that the painting may celebrate a marriage. The woman wears a wedding ring and has none of the traditional attributes of Venus. Compared to other Venuses by Titian, she is not accompanied by a Cupid and "it is the only one in which both figures have individualised features". Radiography reveals that Titian made alterations during the painting's execution. Originally the work was more daring; Venus lay uninhibitedly with her gaze fixed on the musician, which none of the versions discussed here have. Probably the client or the artist thought that the arrangement was too provocative, so Venus' head was turned, and a lap dog added to give her something to look at, and also touch, so reinforcing any allegory of the senses that might be intended.