whether this half-length really represents the court poet of Ferrara,
but the point requires more elaborate discussion than can be here
conceded to it. Thoroughly Giorgionesque is the soberly tinted yet
sumptuous picture in its general arrangement, as in its general tone,
and in this respect it is the fitting companion and the descendant of
Giorgione's _Antonio Broccardo_ at Buda-Pesth, of his _Knight of Malta_
at the Uffizi. Its resemblance, moreover, is, as regards the general
lines of the composition, a very striking one to the celebrated Sciarra
_Violin-Player_ by Sebastiano del Piombo, now in the gallery of Baron
Alphonse Rothschild at Paris, where it is as heretofore given to
Raphael.[30] The handsome, manly head has lost both subtlety and
character through some too severe process of cleaning, but Venetian art
has hardly anything more magnificent to show than the costume, with the
quilted sleeve of steely, blue-grey satin which occupies so prominent a
place in the picture.

[Illustration: _Madonna and Child, with four Saints. Dresden Gallery.
From a Photograph by Hanfstängl_.]

The so-called _Concert_ of the Pitti Palace, which depicts a young
Augustinian monk as he plays on a keyed instrument, having on one side
of him a youthful cavalier in a plumed hat, on the other a bareheaded
clerk holding a bass-viol, was, until Morelli arose, almost universally
looked upon as one of the most typical Giorgiones.[31] The most gifted
of the purely aesthetic critics who have approached the Italian
Renaissance, Walter Pater, actually built round this _Concert_ his
exquisite study on the School of Giorgione. There can be little doubt,
notwithstanding, that Morelli was right in denying the authorship of
Barbarelli, and tentatively, for he does no more, assigning the so
subtly attractive and pathetic _Concert_ to the early time of Titian. To