In Bellini's share in the landscape there is not a little to remind the beholder of the Death of St. Peter Martyr to be found in the Venetian room of the National Gallery, where it is still assigned to the great master himself, though it is beyond reasonable doubt by one of his late pupils or followers.
The enlarged second edition, with the profile portrait of Ariosto by Titian, did not appear until 1532. Among the additions then made were the often-quoted lines in which the poet, enumerating the greatest painters of the time, couples Titian with Leonardo, Andrea Mantegna, Gian Bellino, the two Dossi, Michelangelo, Sebastiano, and Raffael (33rd canto, 2nd ed.).
Φιλοστρατου Εικονων Ερωτες
Let the reader, among other things of the kind, refer to Rubens's Jardin à Amour, made familiar by so many repetitions and reproductions, and to Van Dyck's Madone aux Perdrix at the Hermitage (see Portfolio: The Collections of Charles I.). Rubens copied, indeed, both the Worship of Venus and the Bacchanal, some time between 1601 and 1608, when the pictures were at Rome. These copies are now in the Museum at Stockholm. The realistic vigour of the Bacchanal proved particularly attractive to the Antwerp master, and he in more than one instance derived inspiration from it. The ultra-realistic Bacchus seated on a Barrel, in the Gallery of the Hermitage at St. Petersburg, contains in the chief figure a pronounced reminiscence of Titian's picture; while the unconventional attitude of the amorino, or Bacchic figure, in attendance on the god, is imitated without alteration from that of the little toper whose action Vasari so explicitly describes.