[Illustration: _Anderson photo. Pitti Gallery, Florence_ NYMPH AND SATYR] Another picture in the Pitti was also recognised by Morelli as Giorgione's work--"The Nymph pursued by a Satyr." Modern criticism seems undecided on the justice of this view, some writers inclining to the belief that this is a Giorgionesque production of Dosso Dossi, others preserving a discreet silence, or making frank avowal of their inability to decide. Nevertheless, I venture to agree with Morelli that "we have all the characteristics of an early (?) work of Giorgione--the type of the nymph with the low forehead, the charming arrangement of the hair upon the temples, the eyes placed near together, and the hand with tapering fingers."[56] The oval of the face recalls the "Knight of Malta," the high cranium and treatment of the hair such as we find in the Dresden "Venus" and elsewhere. The delicacy of modelling, the beauty of the features are far beyond Dosso's powers, who, brilliant artist as he sometimes was, was of much coarser fibre than the painter of these figures. The difference of calibre between the two is well illustrated by comparing Giorgione's "Satyr" with Dosso's frankly vulgar "Buffone" in the Modena Gallery, or with those uncouth productions, also in the Pitti, the "S. John Baptist" and the "Bambocciate."[57] Were the repaints removed, I think all doubts as to the authorship would be set at rest, and the "Nymph and Satyr" would take its place among the slighter and more summary productions of Giorgione's brush. [Illustration: _Laurent_ photo. Prado Gallery, Madrid MADONNA AND SAINTS]