Characteristic of the master is the introduction of the great tree-trunk, conveying a sense of grandeur and solemn mystery to the scene; characteristic, too, is the distant landscape, the splendid glow of which evokes special praise from the writers just mentioned. Again we find the parapet, or ledge, with its flat surface on which the play of light can be caught, and again the same curious folds, broken and crumpled, such as are seen on Solomon's robe in the Kingston Lacy picture, and somewhat less emphatically in the Castelfranco "Madonna." Consistent, moreover, with that weakness we have already noticed elsewhere, is the design of the leg and foot, the drawing of which is far from impeccable. That the execution in this respect is not equal to the supreme conception of the whole, is no valid reason for the belief that this "Judith" is only a copy of a lost original, a belief that could apparently only be held by those who have never stood before the picture itself.[48] But even in the reproduction this "Judith" stands confessed as the most impressive of all Giorgione's single figures, and it may well rank as the masterpiece of the earlier period immediately preceding the Castelfranco picture of about 1504, to which in style it closely approximates. The next picture on Morelli's list is the "Fête Champêtre" of the Louvre, or, as it is often called, the "Concert." This lovely "Pastoral Symphony" (which appears to me a more suitable English title) is by no means universally regarded as a creation of Giorgione's hand and brain, and several modern critics have been at pains to show that Campagnola, or some other Venetian imitator of the great master, really produced it.[49] In this endeavour Crowe and Cavalcaselle led the way by suggesting the author was probably an imitator of Sebastiano del Piombo. But all this must surely seem to be heresy when we stand before the picture itself, thrilled by the gorgeousness of its colour, by the richness of the paradise" in which the air is balmy, and the landscape ever green; where life is a pastime, and music the only labour; where groves are interspersed with meadows and fountains; where nymphs sit playfully on the grass, or drink at cool springs."[50] Was ever such a gorgeous idyll? In the whole range of painted poetry can the like be found? [Illustration: _Braun photo. Louvre, Paris_ A PASTORAL SYMPHONY]