This drawing exemplifies a new idiom in Venetian art, of figures in pastoral landscapes, that would remain resonant in European art until the later nineteenth century. The varied and freely applied pen strokes lend movement, texture, and tonal unity to the landscape and figures. Though still a relatively early work, it shows great mastery of execution, not only with the pen, but also within the touches of white gouache applied to both figures. The poetic quality of the drawing is achieved through subtlety of technique and a certain elusiveness of mood. The two satyrs are entwined, but look away into the distance beyond the astrological disk prominently displayed at the right. Form and expression are brought into full harmony here to create one of the great examples of Venetian Renaissance drawing. Only thirty-five to forty of Titian's drawings are extant. In broad terms, the drawing belongs to a moment not far removed from that of the Concert Champêtre (Paris, Musée du Louvre), which was painted by either Titian or Giorgione. The concern for rendering the spirit as well as the morphology of landscape are central to this great period of Venetian art. The poetic and elusive iconography may be found in the work of Giorgione and his circle. The broad technique of pen drawing is characteristic of Venetian artists at the time, including Giorgione, Titian, and their followers. The sheet is inscribed at the lower right, "Lovini Milanese," suggesting that a later owner erroneously ascribed it to the Milanese painter Bernardino Luini, to whose work this drawing bears no resemblance.

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