In 1914, noted art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts echoed Konody's assessment of authorship by Leonardo when the painting was more broadly examined in the 1920s. More recently, different sources have made varying characterizations of the degree to which art experts more broadly believe the painting to be the work of Leonardo; in 2012, "The Guardian" described the art world as being "split" over the question, and in 2013, "Reuters" noted that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.