It is noticeable that the "distinction" of this Concert, its sustained
evenness of perfection, alike in design, in execution, and in choice of
personal type, becomes for the "new Vasari" the standard of Giorgione's
genuine work. Finding here enough to explain his influence, and the true
seal of mastery, its authors assign to Pellegrino da San Daniele the
Holy Family in the Louvre, for certain points in which it comes short of
that standard, but which will hardly diminish the spectator's enjoyment
of a singular charm of liquid air, with which the whole picture seems
instinct, filling the eyes and lips, the very garments, of its sacred
personages, with some wind-searched brightness and energy; of which fine
air the blue peak, clearly defined in the distance, is, as it were, the
visible pledge. Similarly, another favourite picture in the Louvre, the
subject of a Sonnet by a poet whose own painted work often comes to mind
as one ponders over these precious things--the Fete Champetre, is
assigned to an imitator of Sebastian del Piombo; and the Tempest, in the
Academy at Venice (a slighter loss, perhaps, though not without its
pleasant effect of clearing weather, towards the left, its one untouched
morsel), to Paris Bordone, or perhaps to "some advanced craftsman of the
sixteenth century.
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