In Discourse Eleven of 1782 Reynolds cites San Pietro Martire by Titian in the context of his discussion of the importance to the artist of knowing what to omit:
The same excellence of manner which Titian displayed in history or portrait painting, is equally conspicuous in his landscapes, whether they are professedly such or serve only as backgrounds. One of the most eminent of this latter kind is to be found in the picture of St. Pietro Martire. The large trees, which are here introduced, are plainly distinguished from each other by the different manner in which the branches shoot from their trunks as well as by their different foliage; and the weeds in the fore-ground are varied in the same manner, just as much as variety requires, and no more. ( Reynolds, Discourses, p. 199)