RAPHAEL AND MICHELANGELO. From the point of view of pure style the best treatment of these artists and of the High Renaissance is that of Heinrich Wölfflin in _The Art of the Italian Renaissance_, New York, 1913. It is a book that every student should read and if possible own. Mr. Berenson’s treatment of space composition, in the introduction to _Central Italian Painters of the Renaissance_, is perhaps his finest achievement in criticism. Footnote 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. Footnote 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 Footnote 70: