n
volumes, _The Venetian Painters of the Renaissance_, and the _North
Italian Painters of the Renaissance_ (Putnam). They are brilliant essays
which supplement every other work, overflowing with suggestive and
critical matter, supplying original thoughts, and summing up in a few
pregnant words the main features and the tendencies of the succeeding
stages.

In studying Giorgione, we cannot dispense with Pater's essay, included
in _The Renaissance_. The author is not always well informed as to
facts--he wrote in the early days of criticism--but he is rich in idea
and feeling. Mr. Herbert Cook's _Life of Giorgione_ (Bell's Great
Masters) is full and interesting. Some authorities question his
attributions as being too numerous, but whether we regard them as
authentic works of the master or as belonging to his school, the
illustrations he gives add materially to our knowledge of the
Giorgionesque.

When we come to Titian we are well off. Crowe and Cavalcaselle's _Life
of Titian_ (Murray, out of print), in two large volumes, is well written
and full of good material, from which subsequent writers have borrowed.
An excellent Life, full of penetrating criticism, by Mr. C. Ricketts,
was lately brought out by Methuen (Classics of Art), complete with
illustrations, and including a minute analysis of Titian's technique.
Sir Claude Phillips's Monograph on Titian will appeal to every thoughtful
lover of the painter's genius, and Dr. Gronau has written a good and
scholarly Life (Duckworth).

Mr. Berenson's _Lorenzo Lotto_ must be read for its interest and
learning, given with all the author's charm and lucidity. It includes an
essay on Alvise Vivarini.

My own _Tintoretto_ (Methuen, Classics of Art) gives a full account of
the man and his work, and especially deals exhaustively with the scheme
and details of the Scuola di San Rocco. Professor Thode has written a
detailed and profusely illustrated Life of Tintoretto in the Knackfuss
Series, and the Paradiso has been treated at length and illustrated
in great detail in a very scholarly _edition de luxe_ by Mr. F. O.
Osmaston. It is the fashion to discard Ruskin, but though we may allow
that his judgments are exaggerated, that he reads more into a picture
than the artist intended, and that he is too fond of preaching sermons,
there are few critics who have so many ideas to give us, or who are so
informed with a deep love of art, and both _Modern Painters_ and the
_Stones of Venice_