[81]. Max von Boehn, Giorgione und Palma Vecchio, Leipzig, 1908.
[82]. Bernard Berenson, Lorenzo Lotto, London, 1905. Comprises also careful studies of Alvise Vivarini, Cima, Montagna and other Venetic painters. In The Study and Criticism of Italian Art, 3rd series, London, 1916, the superb Saint Justine of the Valsecchi Collection is rightly restored to Giovanni Bellini, l.c. p. 38 ff.
[83]. Correggio. The standard work, C. Ricci, Antonio Allegri da Coreggio, New York, 1896. A delightful critical study, T. Sturge Moore, Correggio, London and New York, 1906. The complete works in Klassiker der Kunst, No. XVII, Stuttgart.
A new and convincing view of Correggio’s date of birth and early development in Venturi, Storia, Vol. VII, pt. iii, pp. 1152 ff.
[84]. Evelyn March Phillipps, Tintoretto, London, 1911. Many of the extraordinary tempera sketches are reproduced in the Burlington Magazine for January and February, 1910. H. Thode, Tintoretto, Leipzig, 1901.
Many eloquent criticisms by Ruskin in Modern Painters and Stones of Venice (see indices) and in the Guide to the Academy at Venice, Library ed. Vol. XXIV.
[85]. Paolo Veronese. See Kenyon Cox’s masterly essay in Old Masters and New, New York.
[86]. G. B. Tiepolo. The standard work is by Pompeo Molmenti. G. B. Tiepolo, Milan, 1909.
[87]. G. A. Simonson. Francesco Guardi, London, 1905. Numerous additions by the same author in the Burlington Magazine for succeeding years.