When we combine this scientific evidence with what we know of artistic practice in Renaissance Venice, can we draw any conclusions? We know that Titian, like many artists of his day, occasionally reused certain figure types and poses, and we can already see a resemblance between St. Theodore and Actaeon with the naked eye. Forensic imaging of the painting strengthened this connection by revealing a hidden element—Actaeon's javelin—that corresponds to Theodore's lance. Is it likely that the motif of a striding man caught in surprise (while wielding a long stick) originated in the workshop of Titian? Could the second layer of ink have been added to the figure of St. Theodore by someone in Titian's workshop in order to transfer the composition to another work for refinement or re-use? Forensic imaging doesn't answer these questions outright, but gives us new information to consider.