 It was first recognized by Giovanni Morelli, and is now universally accepted, as being the same as the picture seen by Marcantonio Michiel and later by Ridolfi (his 17th century biographer) in the Casa Marcello at Venice.An exquisitely pure and severe rhythm of line and contour chastens the sensuous richness of the painting.The sweep of white drapery on which the goddess lies; and the glowing landscape that fills the space behind her; most harmoniously frame her divinity.