[68]. Raphael. Hermann Grimm’s two volume Life of Raphael is still valuable for background. Among the numerous popular books in English none is outstanding. Henry Strachey’s Raphael, in “Great Masters of Art,” is good, and so are Julia Cartwright’s two monographs: The Early Work of Raphael and Raphael in Rome, in the Portfolio Series, London, 1895.
For Raphael’s participation in the frescoes of the Cambio it seems to me that Professor Venturi, in Storia dell’ Arte Italiana, Vol. VII, part 2, makes out only a plausible case.
Reproductions of all of Raphael’s works in Klassiker der Kunst, No. I., Raphael, Stuttgart and Leipzig.
Among the innumerable essays on Raphael none is more understanding than John La Farge’s, in Great Masters, New York, 1903.
[69]. Michelangelo. The best source for the study of Michelangelo, painter, is the superb plates in Ernst Steinmann’s Die Sixtinische Cappelle, Munich, 1901. Among recent short biographies that of Charles Holroyd, Michelangelo, London and New York, 1911 and Romain Rolland (a longer study, The Life of Michelangelo, New York, 1912; a different and shorter work, Michelangelo, a Study, &c., New York, 1915) are perhaps the best. The two volume biographies by Hermann Grimm and by J. Addington Symonds are valuable, especially for historical background. But the reader may be wise to content himself with one of the brief biographies and such contemporary lives as Vasari’s, Ascanio Condivi’s, and Francesco d’Olanda’s. The two latter are translated in Holroyd’s book. The drawings of Michelangelo are admirably discussed and presented in a perfect selection by Mr. Berenson in The Drawings of the Florentine Painters. The drawings are chronologically arranged and beautifully reproduced by Karl Frey, Die Handzeichnungen Michelangelo’s, 2 vols., Berlin, 1911. W. R. Valentiner treats The Late Years of Michelangelo (New York, 1914) with insight, devoting himself chiefly to the more finished drawings. For a brief yet comprehensive survey, John La Farge in Great Masters, New York, 1903. The works are completely reproduced in Klassiker der Kunst, No. VII. Michelangelo, Stuttgart and Leipzig.
CHAPTER VII.—EARLY VENETIAN PAINTING
[70]. Little literature of a general sort is available to the English speaking reader. Crowe and Cavalcaselle, A History of Painting in Northern Italy, admirably edited by Tancred Borenius, in three volumes, London, 1913, is the chief repository of facts. Evelyn March Phillipps, The Venetian School of Painting, London, 1912, is an excellent brief survey. For readers of Italian Lionello Venturi’s Le Origini della Pittura Veneziana, Venice, 1911, is the best book. A treasure house of materials in Laudadeo Testi’s two volumes, La Storia della Pittura Veneziana, Bergamo. John Ruskin’s masterpiece, Stones of Venice, may be consulted with profit and delight. There are treasures of antiquarian information in Pompeo Molmenti, La Storia di Venezia nella Vita Privata, 3 vols., Bergamo, 1905.
[71]. Jacopo Bellini. The extraordinary and fascinating sketch books are published in two forms, by Corrado Ricci, Jacopo Bellini e i suo libri di designi, 2 vols., Florence, 1908, and by V. Goloubew, Les Dessins de Jacopo Bellini, Bruxelles, 1908.
[72]. G. McNeill Rushforth, Carlo Crivelli, London, 1900.
[73]. Andrea Mantegna. The standard work is by Paul Kristeller, Andrea Mantegna, London and New York, 1901. Maud Crutwell’s short biography, Andrea Mantegna, London, 1901, is excellent. Mr. Berenson’s subtle analysis in North Italian Painters of the Renaissance perhaps overstresses Andrea’s defects. Mantegna’s complete works are reproduced in Klassiker der Kunst, No. XVI, Stuttgart, 1910.