express a definitive opinion on the latter point in the present state of
the picture would be somewhat hazardous. The portrait of the modish
young cavalier and that of the staid elderly clerk, whose baldness
renders tonsure impossible--that is just those portions of the canvas
which are least well preserved--are also those that least conclusively
suggest our master. The passion-worn, ultra-sensitive physiognomy of the
young Augustinian is, undoubtedly, in its very essence a Giorgionesque
creation, for the fellows of which we must turn to the Castelfranco
master's just now cited _Antonio Broccardo_, to his male portraits in
Berlin and at the Uffizi, to his figure of the youthful Pallas, son of
Evander, in the _Three Philosophers_. Closer to it, all the same, are
the _Raffo_ and the two portraits in the _St. Mark_ of the Salute, and
closer still is the supremely fine _Jeune Homme au Gant_ of the Salon
Carré, that later production of Vecelli's early time. The _Concert_ of
the Pitti, so far as it can be judged through the retouches that cover
it, displays an art certainly not finer or more delicate, but yet in its
technical processes broader, swifter, and more synthetic than anything
that we can with certainty point to in the life-work of Barbarelli. The
large but handsome and flexible hands of the player are much nearer in
type and treatment to Titian than they are to his master. The beautiful
motive--music for one happy moment uniting by invisible bonds of
sympathy three human beings--is akin to that in the _Three Ages_, though
there love steps in as the beautifier of rustic harmony. It is to be
found also in Giorgione's _Concert Champêtre_, in the Louvre, in which
the thrumming of the lute is, however, one among many delights appealing
to the senses. This smouldering heat, this tragic passion in which youth
revels, looking back already with discontent, yet forward also with
unquenchable yearning, is the keynote of the Giorgionesque and the early
Titianesque male portraiture. It is summed up by the _Antonio Broccardo_
of the first, by the _Jeune Homme au Gant_ of the second. Altogether