X-ray examination made in 1949 in the Laboratoire of the Louvre, Paris, of the Concert Champêtre, until then attributed to Giorgione, revealed the figure of a woman under the visible woman at the fountain. Technical homogeneity convinced M. Hours-Miédan that the entire painting was by Giorgione. Twenty years later Pignatti and Wethey attributed the painting to Titian on stylistic grounds, and the attribution was adopted by the Louvre. However, the under lying nude is very similar to other figures by Giorgione; and the alteration of her pose (so that she turns her back on companions she once faced) is also characteristic of the artist. Following Calvesi's interpretation of the woman as Temperance, Battisti interprets the scene as the presentation of a choice between passion (represented by the woman with the flute and the pastoral background) and the control of reason (represented by the man with the lute and by the woman at the fountain). Stylistic and technical affinities with Giorgione's other works suggest that the old attribution of the Concert Champêtre may have been correct. -- AATA