As with the later "Olympia" (1863) and other works, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving "The Judgment of Paris" (c. 1515) after a drawing by Raphael. Raphael was an artist revered by the conservative members of the Académie des Beaux-Arts and his paintings were part of the teaching programme at the École des Beaux-Arts, where copies of fifty-two images from his most celebrated frescoes were permanently on display. "Le Bain" (an early title for "Le Déjeuner sur l'herbe") was therefore, in many ways, a defiant painting. Manet was cheekily reworking Raphael, turning a mythological scene from one of the most celebrated engravings of the Renaissance into a tableau of somewhat vulgar Parisian holidaymakers.