Hope uses Portrait of a Man in a Red Cap in the Frick Collection as a starting point for a review of the historical vagaries in attributing paintings to Giorgione or the young Titian. He spends roughly twice as much time on Giorgione, of whom less is known, than on the long-lived, better-documented Titian. He analyzes connoisseurship from Vasari to the present, citing Crowe and Cavalcaselles and Longhi as major influences on the debate. He suggests that archival and historical research might succeed where connoisseurship has failed, hinting that artists beyond the Giorgione/Titian/Sebastiano del Piombo triumvirate might be considered.