On this period there is little available literature in English, but there are excellent sketches of most of the artists treated in this chapter in C. Ricci, Art in Northern Italy, New York, 1911.
A. Pératé in A. Michel, Histoire de l’Art, Vol. Vª, gives a fuller summary.
[88]. Caravaggio. W. Kallab, Austrian Jahrbuch, Vol. XXVI (1906), p. 272 ff., brief illustrated essay. Felix Witting, Michelangelo da Caravaggio, Strassburg, 1916.
[89]. Salvator Rosa. Lady Morgan, The Life and Times of Salvator Rosa, in two vols., Paris, 1824. Leandro Ozzola, Vita e opere di Salvator Rosa, Strassburg, 1908.
The passages translated in the text are from Bottari, Raccolta di lettere sulla Pittura &c., Vol. I, pp. 447, 450 f., Milan, 1822.
[90]. The Carracci. The fundamental source is Carlo Cesare Malvasia’s highly contentious and anecdotal work Felsina Pittrice; I have used the two volume edition, Milan, 1841.
Gabriel Rouchès, La Peinture Bolonaise à la Fin du XVIe Siècle, Paris, 1913, is the standard work on the Eclectic School. On the landscape of this school, which is highly important as preparatory to Claude and Poussin, Rouchès has two remarkable essays in Gazette des Beaux Arts, 5e période Tome, III. (Jan. and Feb. nos. 1921) pp. 7 ff., and 119 ff.
Hans Tietze, in Austrian Jahrbuch, Vol. XXVI (1906) p. 51 ff., Annibale Carracci’s Galerie im Palazzo Farnese und seine Römische Werkstätte—a very thorough and richly illustrated monograph on the Carracci, including such scholars as Francesco Albani, and Domenichino.
[91]. Guido Reni. Max von Boehn, Guido Reni, Leipzig, 1910, fully illustrated.
[92]. Domenichino. Luigi Serra, Domenico Zampieri detto Domenichino, Rome, 1909. Also Tietze’s article, above, note 3.