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 right one? To many this may appear an academic
discussion of little value, for, _ipso facto_, the quality of the work
is admitted by all. The picture is a fine thing, in spite of its
imperfect condition, and what matter whether Titian or Giorgione be the
author? But to this sort of argument it may be said that until we do
know what is Giorgione's work and what is not, it is impossible to gauge
accurately the nature and scope of his art, or to reach through that
channel the character of the artist behind his work. In the case of
Giorgione and Titian, the task of drawing the dividing line is one of
unusual difficulty, and a long and careful study of the question has
convinced me that this will have to be done in a way that modern
criticism has not yet attempted.
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