And now, finally, let me illustrate some of the characteristics of this
School of Giorgione, as we may call it, which, for most of us,
notwithstanding all that negative criticism of the "new Vasari," will
still identify itself with those famous pictures at Florence, Dresden
and Paris; and in which a certain artistic ideal is defined for us--the
conception of a peculiar aim and procedure in art, which we may
understand as the Giorgionesque, wherever we find it, whether in
Venetian work generally, or in work of our own time--and of which the
Concert, that undoubted work of Giorgione in the Pitti Palace, is the
typical instance, and a pledge authenticating the connexion of the
school with the master.
I have spoken of a certain interpretation of the matter or subject of a
work of art with the form of it, a condition realised absolutely only in
music, as the condition to which every form of art is perpetually
aspiring. In the art of painting, the attainment of this ideal
condition, this perfect interpretation of the subject with colour and
design, depends, of course, in great measure, on dexterous choice of
that subject, or phase of subject; and such choice is one of the secrets
of Giorgione's school.
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