now generally rejected, and the Frick itself never changed its own attribution, the label still reading "Rembrandt" and not "attributed to" or "school of". More recent opinion has shifted even more decisively in favor of the Frick; In his 1999 book Rembrandt's Eyes, Simon Schama and the Rembrandt Project scholar Ernst van de Wetering (Melbourne Symposium, 1997) both argued for attribution to the master. Those few scholars who still question Rembrandt's authorship feel that the execution is uneven, and favour different attributions for different parts of the work. A similar issue was raised by Schama concerning the verification of titles associated with the subject matter depicted in Rembrandt's works. For example, the exact subject being portrayed in Aristotle with a Bust of Homer, recently retitled by curators at the Metropolitan Museum, has been directly challenged by Schama applying the scholarship of Paul Crenshaw. Schama presents a substantial argument that it was the famous ancient Greek painter Apelles who is depicted in contemplation by Rembrandt and not Aristotle. Another painting, Pilate Washing His Hands, is also of questionable attribution. Critical opinion of this picture has varied since 1905, when Wilhelm von Bode described it as "a somewhat abnormal work" by Rembrandt. Scholars have since dated the painting to the 1660s and assigned it to an anonymous pupil, possibly Aert de Gelder. The composition bears superficial resemblance to mature works by Rembrandt but lacks the master's command of illumination and modeling. The attribution and re-attribution work is ongoing. In 2005 four oil paintings previously attributed to Rembrandt's students were reclassified as the work of Rembrandt himself: Study of an Old Man in Profile and Study of an Old Man with a Beard from a US private collection, Study of a Weeping Woman, owned by the Detroit Institute of Arts, and Portrait of an Elderly Woman in a White Bonnet, painted in 1640. The Old Man Sitting in a Chair is a further example: in 2014, Professor Ernst van de Wetering offered his view to The Guardian that the demotion of the 1652 painting Old Man Sitting in a Chair "was a vast mistake...it is a most important painting. The painting needs to be seen in terms of Rembrandt's experimentation". This was highlighted much earlier by Nigel Konstam who studied Rembrandt throughout his career. Rembrandt's own studio practice is a major factor in the difficulty of attribution, since, like many masters before him,