Another work of the same period, also in the Louvre, is the "Entombment". This was also the period of the three large and famous mythological scenes for the "camerino" of Alfonso d'Este in Ferrara, "The Bacchanal of the Andrians" and the "Worship of Venus" in the Museo del Prado, and the "Bacchus and Ariadne" (1520–23) in London, "perhaps the most brilliant productions of the neo-pagan culture or "Alexandrianism" of the Renaissance, many times imitated but never surpassed even by Rubens himself." Finally this was the period when Titian composed the half-length figures and busts of young women, probably courtesans, such as "Flora" of the Uffizi, or "Woman with a Mirror" in the Louvre (the scientific images of this painting are available, with explanations, on the website of the French Center for Research and Restoration of the Museums of France)  Titian's skill with colour is exemplified by his "Danaë", one of several mythological paintings, or "poesie" ("poems") as the painter called them. This painting was done for Alessandro Farnese, but a later variant was produced for Philip II, for whom Titian painted many of his most important mythological paintings. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian and his studio produced several versions for other patrons. Another famous painting is "Bacchus and Ariadne", depicting Theseus, whose ship is shown in the distance and who has just left Ariadne at Naxos, when Bacchus arrives, jumping from his chariot, drawn by two cheetahs, and falling immediately in love with Ariadne. Bacchus raised her to heaven. Her constellation is shown in the sky. The painting belongs to a series commissioned from Bellini, Titian, and Dosso Dossi, for the Camerino d'Alabastro (Alabaster Room) in the Ducal Palace, Ferrara, by Alfonso I d'Este, Duke of Ferrara, who in 1510 even tried to commission Michelangelo and Raphael. During the next period (1530–1550), Titian developed the style introduced by his dramatic "Death of St. Peter Martyr". In 1538, the Venetian government, dissatisfied with Titian's neglect of his work for the ducal palace, ordered him to refund the money he had received, and Il Pordenone, his rival of recent years, was installed in his place.