the keyboard in the first version, and two in the second, the Berlin organist has abandoned playing to gaze at Venus, a point given great significance by Erwin Panofsky, as representing the "triumph of the sense of sight over the sense of hearing". The depiction of the organs has been criticized by organ scholars: "The pipes are too squat, and if they sounded at all would produce a tubby, inelegant wallowing". The lutenists are able to turn their instruments along with their body, and both seem to continue playing. According to Panofsky, this "means that a musician interrupted in the act of making music by the sight of visual beauty embodied in Venus has been transformed into a musician doing homage to the visual beauty embodied in Venus by the very act of making music. It is difficult to play the organ and to admire a beautiful woman at the same time; but it is easy to serenade her, as it were, to the accompaniment of a lute, while giving full attention to her charms." The 20th-century fashion for explaining paintings with reference to the subtle doctrines of Renaissance Neoplatonism reached the series, although in the case of Titian there is even more resistance than usual to such explanations. Edgar Wind noted a pictorial convention, seen also in the Pastoral Concert and other works, where divine figures are nude, but mortals clothed. In the Musician paintings "the disparity between mortal and goddess is heightened by a paradox of posture. While the courtier plays music under the inspiration of love ... he does not face the goddess directly, but turns his head over his shoulder to look back at her; he thus enacts the Platonic ἐπιστροφἠ, the reversal of vision by which alone a mortal can hope to face transcendent Beauty". Nonetheless, Wind later describes the composition as "a somewhat tiresome show-piece". Although there is no inevitable contradiction between an allegorical interpretation and a more straightforward decorative and erotic one, more recent scholars have often rejected or at least played down the allegorical interpretation. Ulrich Middeldorf, in 1947, began the reaction: "The main figures in Titian's Sacred and Profane Love (Galleria Borghese, Rome) possess a dignity and purity that make any high-flung interpretation of the picture seem acceptable. It is quite a unique picture, which we can well imagine as painted to suit the elevated tastes of an extremely refined person.