Callisto's story was sometimes depicted in classical art, where the moment of transformation into a bear was the most popular. From the Renaissance on a series of major history paintings as well as many smaller cabinet paintings and book illustrations, usually called "Diana and Callisto", depicted the traumatic moment of discovery of the pregnancy, as the goddess and her nymphs bathed in a pool, following Ovid's account. The subject's attraction was undoubtedly mainly the opportunity it offered for a group of several females to be shown largely nude.Titian's "Diana and Callisto" (1556-1559), was the greatest (though not the first) of these, quickly disseminated by a print by Cornelius Cort. Here, as in most subsequent depictions, Diana points angrily, as Callisto is held by two nymphs, who may be pulling off what little clothing remains on her. Other versions include one by Rubens, and "Diana Bathing with her Nymphs with Actaeon and Callisto" by Rembrandt, which unusually combines the moment with the arrival of Actaeon. The basic composition is rather unusually consistent. Carlo Ridolfi said there was a version by Giorgione, who died in 1510, though his many attributions to Giorgione of paintings that are now lost are treated with suspicion by scholars. Other, less dramatic, treatments before Titian established his composition are by Palma Vecchio and Dosso Dossi. Annibale Carracci's "The Loves of the Gods" includes an image of Juno urging Diana to shoot Callisto in ursine form.