He makes, too, the general mistake of treating Leonardo as a realist. But there is no basis of truth in this. The influence of realism had not begun to be felt at his date, or at all events in his work. The studies, for instance, to which Pater alludes, as of various flowers, of which there are a number of instances in the Windsor collection, are not realistically treated, but conventionally, and with the influence of tradition strongly marked in them. Again it will be remembered how Pater speaks of the angel’s head, which according to tradition Leonardo contributed to a picture of his master, Verrocchio. He says that the head is still to be seen, “a space of sunlight in the cold, laboured, old picture.” There are in reality two heads in the picture, probably both by Leonardo, and one curiously ill-drawn. But the picture is not cold and laboured; it is simply unfinished, and not in a condition on which a judgment of its possibilities could be passed. In the essay on “Botticelli” he was on firmer ground. But the essay on the “School of Giorgione” is perhaps the most typical instance. There are only two Giorgiones which can be positively identified as his from contemporary records. These are the picture known as “The Three Philosophers,” or “The Chaldean Sages,” which is now supposed by some critics to represent the arrival of Aeneas in Italy; and the picture known as “The Stormy Landscape” in the Giovanelli Palace at Venice, which is now sometimes called “Adrastus and Hypsipyle.” Then there is the great Castelfranco altar-piece, which by tradition and internal evidence may be held to be an indubitable Giorgione. Then there are others with a reasonable degree of probability, such as the “Knight in Armour” in the National Gallery, said to be a study for the figure of S. Liberale in the Castelfranco altar-piece, an “Adoration of the Shepherds,” belonging to Mr. Wentworth Beaumont, and two panels at Florence, one representing an incident in the legendary childhood of Moses, and the other “The Judgment of Solomon.” But “The Concert,” in the Pitti, cannot be certainly attributed to Giorgione, and it may be said that the more Pater had known about Giorgione, the less likely would he have been to have attributed the picture to him. The truth is that Giorgione is a somewhat legendary painter, and what work of his is authentic is probably his later work. Art critics have of course as far as possible to account for the existence of such a legend; but the result is that in Pater’s hands, with the faulty and imperfect knowledge that existed about Giorgione at the time when he wrote, the subject is misconceived and exaggerated. There is, in the authentic works of Giorgione, an almost entire want of dramatic unity. In “The Stormy Landscape,” for instance, the figures of the mother with an infant and the young knight have no connection with each other, and are both entirely out of keeping with and unaffected by the scene, where