 There have been two sources of widespread confusion in the debate over authenticity in performance. One is a failure to recognize that authenticity is not simply a property, but a relation that comes in degrees and along different “vectors”. Something may be more authentic in one regard and less authentic in another (S. Davies 2001: 203–5). Another is the assumption that authenticity is an evaluative concept, in the sense that “authentic” implies “good”. That this is not the case is clear from the fact that an authentic murderer is not a good thing (S. Davies 2001: 204). Thus, our value judgments will be complex functions of the extent to which we judge performances authentic in various regards, and the values we assign to those various kinds of authenticity.