The partnership between the two was probably arranged a few years before the end of the century, for we have seen that young painters usually started on their own account at about nineteen or twenty. For some years Titian, like Giorgione, was engrossed by the decorations of the Fondaco dei Tedeschi. The groups of figures described by Zanetti in 1771 show us that while Giorgione made some attempt at following classic figures, Titian broke entirely with Greek art and only thought of picturesque nature and contemporary costume. Vasari complains that he never knew what Titian's "Judith" was meant to represent, "unless it was Germania," but Zanetti, who had the benefit of Sebastiano Ricci's taste, declares that from what he saw, both Giorgione and Titian gave proofs of remarkable skill. "While Giorgione showed a fervid and original spirit and opened up a new path, over which he shed a light that was to guide posterity, Titian was of a grander and more equable genius, leaning at first, indeed, upon Giorgione's example, but expanding with such force and rapidity as to place him in advance of his companion, on an eminence to which no later craftsman was able to climb.... He moderated the fire of Giorgione, whose strength lay in fanciful movement and a mysterious artifice in disposing shadows, contrasted darkly with warm lights, blended, strengthened, blurred, so as to produce the semblance of exuberant life." Certain works remain to link the two painters; even now critics are divided as to which of the two to attribute the "Concert" in the Pitti. The figures are Giorgionesque, but the technique establishes it as an early Titian, and it is doubtful whether Giorgione would be capable of the intellectual effort which produced the dreamy, passionate expression of the young monk, borne far out of himself by his own melody, and half recalled to life by the touch on his shoulder. Titian, like Giorgione, was a musician, and the fascination of music is felt by many masters of the Italian schools. In one picture the player feels vaguely after the melody, in another we are asked to anticipate the song that is just about to begin, or the last chords of that just finished vibrate upon the ear, but nowhere else in all art has any one so seized the melody of an instant and kept its fulness and its passion sounding in our ears as this musician does. Though we cannot say that Titian was the pupil of any one master, the fifteen years, more or less, that he spent with Giorgione left an indelible impression upon him. We have only to look at such a picture as the "Madonna and Child with SS. John Baptist and Antony Abate," in the Uffizi, an early work, to recollect that in 1503 Giorgione at Castelfranco had taken the Madonna from her niche in the sanctuary and had enthroned her on high in a bright and sunny landscape with S. Liberale standing sentinel at her feet, like a knight guarding his liege lady.