Dubbed ?a mighty poet? by American author Henry James, Titian remains one of the most celebrated painters in Western art. Since his death in 1576, the artist?s reputation has never waned. In Gilded Age America, Titian paintings became the peerless prizes of leading collectors and quickly rose to the top of Isabella Stewart Gardner?s wish list. In 1896, she landed his masterpiece, The Rape of Europa. It became the sole example of his celebrated cycle of poesie outside of Europe, inspired an entire gallery in her newly built museum, and contributed to England?s national outcry over the loss of its art treasures. This book ? the first dedicated to Europa ? tells the painting?s story in Gardner?s time, in Titian?s, and offers rare insights into the artist?s virtuoso technique.0Nathaniel Silver, William and Lia Poorvu Curator of the Collection, tells the acquisition story behind The Rape of Europa (1562), one of the most influential and iconic Renaissance paintings in America. The purchase of Titian?s masterpiece from an English aristocrat marked the beginning of a new phase in Gardner?s business relationship with scholar and art dealer Bernard Berenson and made her the envy of every art collector in the United States. While Henry James nicknamed Isabella ?daughter of Titian? and all of Boston fell at her feet, European contemporaries took note of their rapidly disappearing national patrimony. The same celebrity that would make Europa the crown jewel of Boston?s newest museum fueled the widely publicized debate over England?s artistic heritage. ?American despoilers? became the rallying cry of British museum directors, curators, and scholars who cast their country as the victim of New World rapacity, and Isabella its most brilliant villain.