Restoration in 1986–1987 showed that there was no preparatory drawing under the landscape in the background and that he had often applied the paint to the preparation with his fingertips. The landscape in the background draws on Giorgione's innovations in landscape, the use of aerial perspective in the blue haze over the mountains and the more late Gothic study of detail from life which Bellini had learned under his father Jacopo – one example is the cheetah to the left, standing on a stone which bears his Latin signature and the date in Latin numerals (IOANNES BELLINUS MDX).[2]