But, although the number of Giorgione's extant works has been thus limited by recent criticism, all is not done when the real and the traditional elements in what concerns him have been discriminated; for, in what is connected with a great name, much that is not real is often very stimulating. For the aesthetic philosopher, [148] therefore, over and above the real Giorgione and his authentic extant works, there remains the Giorgionesque also--an influence, a spirit or type in art, active in men so different as those to whom many of his supposed works are really assignable. A veritable school, in fact, grew together out of all those fascinating works rightly or wrongly attributed to him; out of many copies from, or variations on him, by unknown or uncertain workmen, whose drawings and designs were, for various reasons, prized as his; out of the immediate impression he made upon his contemporaries, and with which he continued in men's minds; out of many traditions of subject and treatment, which really descend from him to our own time, and by retracing which we fill out the original image. Giorgione thus becomes a sort of impersonation of Venice itself, its projected reflex or ideal, all that was intense or desirable in it crystallising about the memory of this wonderful young man. And now, finally, let me illustrate some of the characteristics of this School of Giorgione, as we may call it, which, for most of us, notwithstanding all that negative criticism of the "new Vasari," will still identify itself with those famous pictures at Florence, at Dresden and Paris. A certain artistic ideal is there defined for us- -the conception of a peculiar aim and procedure in art, which we may understand as the Giorgionesque, [149] wherever we find it, whether in Venetian work generally, or in work of our own time. Of this the Concert, that undoubted work of Giorgione in the Pitti Palace, is the typical instance, and a pledge authenticating the connexion of the school, and the spirit of the school, with the master.