This painting may be compared to another work by Joachim, a Bacchus on a circular panel of similar size in the Musée de Moulins.¹ The placement of the figures, seen slightly sotto in su with the head near the top, is similar in both pictures, which were probably intended to be incorporated in a scheme of architectural decoration.  Wtewael favoured the tondo form, which he used on a number of occasions.

1.  See A. Lowenthal, Joachim Wtewael and Dutch Mannerism, Doornspijk 1986, pp. 𝔉142-3, no. A-77, reproduc𒉰ed plate 107.