_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. Footnote 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 XVI^e 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_, 5^e 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. Footnote 91: _Guido Reni._ Max von Boehn, _Guido Reni_, Leipzig, 1910, fully illustrated. Footnote 92: _Domenichino._ Luigi Serra, _Domenico Zampieri detto Domenichino_, Rome, 1909. Also Tietze’s article, above, note 3. HINTS FOR READING COMPREHENSIVE HISTORIES OF ITALIAN PAINTING. For English speaking readers the greatest resource for reference is Crowe and Cavalcaselle, _A New History of Painting in Italy_, which covers the Central Italian field up to about 1500. I prefer the three volume edition by Edward Hutton, published by J. M. Dent and Co., London; and E. P. Dutton, New York, (1908–9) to the fuller six-volume edition annotated by Langton Douglas and published conjointly by the Murrays of London and the Scribners of New York. For the North Italian field Crowe and Cavalcaselle’s _History of Painting in Northern Italy_, re-edited in three volumes by Tancred Borenius, John Murray-Charles Scribner’s Sons, 1912, is indispensable. Both works are ordinarily cited as “C. & C.” The Italian articles in A. Michel’s _Histoire de l’Art_, Paris, are excellent. MANUALS. Bernard Berenson’s four Handbooks, _Venetian Painters of the Renaissance_, _Florentine Painters of the Renaissance_, _Central Italian Painters of the Renaissance_, and _Northern Italian Painters of the Renaissance_, New York and London, G. P. Putnam and Sons, are uniquely useful. Each contains a thorough critical discussion and lists of the works of the more important painters. The latest editions should be used. _A Short History of Italian Painting_, by Alice van Vechten Brown and William Rankin, Dent-Dutton, 1914, offers brilliant, if uneven, characterizations and able summaries of contested points.