Rialto; San Giorgio Maggiore (two);
S. Maria della Salute; Archway in Venice; Vaulted Arcades;
The Dogana.

BIBLIOGRAPHY

It is an advantage to the student of Italian art to be able to read
French, German, and Italian, for though translations appear of the most
important works, there are many interesting articles and monographs of
minor artists which are otherwise inaccessible.

Vasari, not always trustworthy, either in dates, facts, or opinions, yet
delightfully human in his histories, is indispensable, and new editions
and translations are constantly issued. Sansoni's edition (Florence),
with Milanesi's notes, is the most authoritative; and for translations,
those of Mrs. Foster (Messrs. Blashfield and Hopkins), and a new edition
in the Temple classics (Dent, 8 vols., 2s. each vol.).

Ridolfi, the principal contemporary authority on Venetian artists, who
published his _Maraviglie dell' arte_ nine years after Domenico
Tintoretto's death, is only to be read in Italian, though the anecdotes
with which his work abounds are made use of by every writer.

Crowe and Cavalcaselle's _Painting in North Italy_ (Murray) is a
storehouse of painstaking, minute, and, on the whole, marvellously
correct information and sound opinion. It supplies a foundation, fills
gaps, and supplements individual biographies as no other book does. For
the early painters, down to the time of the Bellini, _I Origini dei
pittori veneziani_, by Professor Leonello Venturi, Venice, 1907, is a
large book, written with mastery and insight, and well illustrated; _La
Storia della pittura veneziana_ is another careful work, which deals
very minutely with the early school of mosaics.

In studying the Bellini, the late Mr. S. A. Strong has _The Brothers
Bellini_ (Bell's Great Masters), and the reader should not fail to read
Mr. Roger Fry's _Bellini_ (Artist's Library), a scholarly monograph,
short but reliable, and full of suggestion and appreciation, though
written in a cool, critical spirit. Dr. Hills has dealt ably with
_Pisanello_ (Duckworth).

Molmenti and Ludwig in their monumental work _Vittore Carpaccio_,
translated by Mr. R. H. Cust (Murray, 1907), and Paul Kristeller in the
equally important _Mantegna_, translated by Mr. S. A. Strong (Longmans,
1901), seem to have exhausted all that there is to be said for the
moment concerning these two painters.

It is almost superfluous to mention Mr. Berenson's two well-know