_Pontormo._ We have two admirable books by the same writer, Dr. F. M. Clapp; _Les Dessins de Pontormo_, Paris, 1914; _Pontormo, his Life and Work_, New Haven, 1916. Pontormo’s supreme masterpiece of portraiture, The Halberdier, is published by myself in _Art in America_, Vol. X, p. 66. CHAPTER VI. THE HIGH RENAISSANCE. The indispensable books are, for leading ideas, J. C. Burckhardt, _Civilization of the Renaissance in Italy_, New York, 1890; for the stylistic development in Art, H. Wölfflin, _The Art of the Italian Renaissance_, New York, 1913. Very valuable for history and biography are J. Addington Symonds’s _The Renaissance in Italy_, 5 Vols., London; and H. O. Taylor’s _Thought and Expression in the Sixteenth Century_, New York, 1920. For Renaissance ideals of nobility and moderation the capital contemporary work is _Il Cortegiano_, by Baldassare Castiglione, translated as _The Courtier_ by L. E. Opdycke, New York, 1905. For stylistic analysis Berenson’s introductions to _Florentine Painters_, and to _Central Italian Painters of the Renaissance_, are suggestive and important. Footnote 61: _Gentile da Fabriano._ A. Colasanti, _Gentile da Fabriano_. Bergamo, 1909. Also my Essay review. _The Nation_, Vol. 89 (1909) pp. 168–170. Footnote 62: _Andrea da Bologna._ _The Nation_ (N. Y.) Vol. 95. (1912) p. 392. Footnote 63: _Fifteenth Century Umbrians._ Walter Rothes, in _Anfänge ... der Alt-Umbrischen Malerschulen_, Strassburg, 1908, gives excellent illustrations for the Early Umbrian Artists. Also for cuts, U. Gnoli, _La Mostra Umbra_, Bergamo. Footnote 64: _Melozzo da Forlì._ A. Schmarsow, _Melozzo da Forlì_, Berlin, 1886, and C. Ricci, _Melozzo da Forlì_, Rome, 1911, are the standard works. Footnote 65: _Luca Signorelli._ Maud Crutwell, _Luca Signorelli_, London, 1901. See Venturi, vii, as usual. Footnote 66: _Pietro Perugino._ Venturi, _Storia_, Vol. VII, pt. 2, ch. v, makes Perugino the direct pupil of Piero della Francesca, ascribing to Perugino many pictures formerly ascribed to Fiorenzo di Lorenzo. The view while attractive is not wholly convincing to me. All of Perugino’s works are published in _Klassiker der Kunst_, No. XXV, Stuttgart, 1914. The best general estimate of Perugino is that of Wölfflin and of Berenson, in _Central Italian Painters_. Footnote 67: The _Cambio_ frescoes. While it is inherently likely that Raphael worked on these frescoes, Prof. Venturi’s plea for Raphael’s authorship of God, the Prophets and Sibyls, _Storia_, Vol. VII, pt. 2, p. 828 _ff._ depends largely on the shaky evidence of drawings attributed arbitrarily to Raphael.