Interprets the Concert Champêtre (Paris, Louvre) as an allegory of the theory and practice of music, and analyzes it in relation to contemporary culture, especially Bembo's theories of harmony and allegory, concluding that the painting is in keeping with the mentality of Titian and his patrons and not with that of Giorgione; includes catalogue entries for examples of the representation of music and musicians in Renaissance art (painting, graphic arts) in the Veneto.
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