the Gallery of Padua
reveals, particularly in this respect, striking resemblances. This fine
portrait was identified by both Crowe and Cavalcaselle and by Morelli as
the work of Torbido, and I venture to place the reproduction of it
beside that of the "Shepherd" for comparison. It is not easy to
pronounce on the technical qualities of either work, for both have
suffered from re-touching and discolouring varnish, and the hand of the
"Shepherd" is certainly damaged. Yet, whilst admitting that the evidence
is inconclusive, I cannot refrain from suggesting Torbido's name as
possible author of the "Shepherd," the more so as we know he carefully
studied and formed his style upon Giorgione's work.[62] It is at least
conceivable that he took Giorgione's "David with the Head of Goliath,"
and by a simple, and in this case peculiarly appropriate,
transformation, changed him into a shepherd boy holding a flute.

We have now taken all the pictures which either Crowe and Cavalcaselle
or Morelli, or both, assign to Giorgione himself. There still remain,
however, three or four works to be mentioned where these authorities
hold opposite views which require some examination.

First and foremost comes the "Concert" in the Pitti Gallery, a work
which was regarded by Crowe and Cavalcaselle not only as a genuine
example of Giorgione's art, but as "not having its equal in any period
of Giorgione's practice. It gives," they go on, "a just measure of his
skill, and explains his celebrity."[63] Morelli, on the contrary, holds:
"It has unfortunately been so much damaged by a restorer that little
enough remains of the original, yet from the form of the hands and of
the ear, and from the gestures of the figures, we are led to infer that
it is not a work of Giorgione, but belongs to a somewhat later period.
If the repaint covering the surface were removed we should, I think,
find that it is an early work by Titian."[64] Where Morelli hesitated
his followers have decided, and accordingly, in Mr. Berenson's list, in
Mr. Claude Phillips' "Life of Titian," and in the latest biography on
that master, published by Dr. Gronau, we find the "Concert" put down to
Titian. On the other hand, Dr. Bode, Signor Conti in his monograph on
Giorgione, M. Muentz, and the authorities in Florence support the
traditional view that the "Concert" is a masterpiece of Giorgione.

[Illustration: _Alinari photo. Pitti Gallery, Florence_

THE CONCERT]

Which view is the ri