This essay has two related objectives. First, it seeks to reconstruct a sequence of paintings, several known only in copies, flexibly connected with one another in composition and subject-matter, made by Titian and his studio between c. 1530 and c. 1565. Second, it introduces and studies in some detail a previously unpublished painting whose discovery entailed a reappraisal of the entire sequence, and of my own earlier work on the subject. An abbreviated draught of the present version, of 2023, was superseded by another rediscovery which again rearranged my proposed sequencing, and provoked a further evolution in my ideas.