eir love for their art and by the aptitude with which
Titian grasped Giorgione's principles.

And if we ask ourselves why we take for granted that of two young men so
closely allied in age and circumstance we accept Giorgione as the leader
and the creator of the new style, we may answer that Titian was a more
complex character. He was intellectual, and carried his intellect into
his art, but this was no new feature. The intellect had had and was
having a large share in art. But in that part which was new, and which
was launching art upon an untried course, Giorgione is more intense,
more one-idea'd than Titian. What he does he does with a fervour and a
spontaneity that marks him as one who pours out the language of the
heart.

The partnership between the two was probably arranged a few years before
the end of the century, for we have seen that young painters usually
started on their own account at about nineteen or twenty. For some years
Titian, like Giorgione, was engrossed by the decorations of the Fondaco
dei Tedeschi. The groups of figures described by Zanetti in 1771 show us
that while Giorgione made some attempt at following classic figures,
Titian broke entirely with Greek art and only thought of picturesque
nature and contemporary costume.

Vasari complains that he never knew what Titian's "Judith" was meant to
represent, "unless it was Germania," but Zanetti, who had the benefit of
Sebastiano Ricci's taste, declares that from what he saw, both Giorgione
and Titian gave proofs of remarkable skill. "While Giorgione showed a
fervid and original spirit and opened up a new path, over which he shed
a light that was to guide posterity, Titian was of a grander and more
equable genius, leaning at first, indeed, upon Giorgione's example, but
expanding with such force and rapidity as to place him in advance of
his companion, on an eminence to which no later craftsman was able to
climb.... He moderated the fire of Giorgione, whose strength lay in
fanciful movement and a mysterious artifice in disposing shadows,
contrasted darkly with warm lights, blended, strengthened, blurred, so
as to produce the semblance of exuberant life." Certain works remain to
link the two painters; even now critics are divided as to which of
the two to attribute the "Concert" in the Pitti. The figures are
Giorgionesque, but the technique establishes it as an early Titian, and
it is doubtful whether Giorgione would be capable of the intellectual