Focus on The Feast of the Gods and explain the Interpretation.
The work is atypical of Renaissance mythological painting in the down to earth treatment of the main deities, which may be accounted for by the figures beginning as ordinary citizens of Thebes, and by Bellini's inexperience in the emerging conventions of mythological art. The work was a considerable departure from his usual subject-matter of religious scenes and portraits for Bellini, who was over 80 when he began it. He had previously been reluctant to paint mythological stories, wriggling out of a commission from Isabella d'Este, Alfonso's sister, in 1501–04 (she had to be content with a Nativity at a lower price than she had offered for a storia).  He was perhaps then reluctant to compete with his brother-in-law Andrea Mantegna, who specialized in classical subjects.  But Mantegna had died in 1506.As the first work produced for the camerino, Bellini determined many elements of the style for the cycle, which Titian needed to harmonize with in his later canvases.  The room as a whole "constituted a large novelty in the European imagination", as the paintings "established in visual form the picture of the ideal, mythical Mediterranean idyll, made up of charming people enjoying themselves in a gorgeous landscape" and "presented figures from classical mythology as laymen engaged in lay pursuits of love and war, embodied in the new realistic naturalism which had only just been developed... Secular life came into high art by the back door as the representation of the stories of the classical gods, in whom no one believed, but who, since they were not real gods, could be placed in embarrassing situations.  The pictures in the Camerino were perhaps the crucial stage in this revolution".
Titian Isabella d'Este Andrea Mantegna Thebes