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. Müntz, 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. From the very earliest days the two have been so inextricably confused that it will require a very exhaustive re-examination of all the evidence in the light of modern discoveries, documentary and pictorial, coupled, I am afraid, with the recognition of the fact that much modern criticism on this point has been curiously at fault. This is neither the time nor the place to discuss the question of Titian's early work, but I feel sure that this chapter of art history has yet to be correctly written.[65] One of the determining factors in the discussion will be the authorship of the Pitti "Concert," for our estimate of Giorgione or Titian must be coloured appreciably by the recognition of such an epoch-making picture as the work of one or the other.