TECHNIQUE. Consult the delightful _The Book of Art by Cennino Cennini_, edited by Christiana J. Herringham, London: George Allen, 1922, for methods of painting in tempera and fresco. BIOGRAPHY. Giorgio Vasari’s picturesque _Lives of the Painters_ may most profitably be read in the translation of Gaston DuC. de Vere, in ten volumes, London: Philip Lee Warner; New York: The Macmillan Company. There are many color-prints. The matter is available inexpensively in the handy “Everyman’s Library.” Mrs. Ady, “Julia Cartwright,” has epitomized the chief lives agreeably, with necessary corrections, in _The Painters of Florence_, E. P. Dutton and Company, 1916. PERIODICALS. The reader may most profitably cultivate the habit of paging over the files of _The Burlington Magazine_ and _Art in America_, _Rassegna d’Arte_ and _L’Arte_, which contain good reproductions of many fine Italian pictures in private collections. HISTORICAL BACKGROUND. Excellent the many Italian Chapters in Henry Osborn Taylor’s _The Mediaeval Mind_, in two volumes, The Macmillan Company, 1911. For Florentine conditions consult Guido Biagi, _Men and Manners of Old Florence_, Chicago, A. C. McClurg and Company, 1909, and _The Builders of Florence_, by J. Wood Brown, London, Methuen and Company, 1907. PHOTOGRAPHS, etc. The ideal way to use a handbook would be to skim it before visiting a great European gallery and to reread it carefully while the impression of the pictures themselves was still vivid. But the student must also depend much on photographic reproductions. For Italy those of Messrs. Alinari at Florence and of Dominick Anderson at Rome are comprehensive, finely made, and remarkably cheap. Alinari has most of the Italian paintings of the Louvre and Dresden Gallery; Anderson, those of the Prado, Madrid, and National Gallery, London. The collections of Hanfstaengl and of Bruckmann, Munich, cover most of the galleries of Northern and Central Europe. Photographs of the Italian pictures in the Metropolitan Museum, New York; the Museum of Fine Arts, Boston; the Fogg Museum, Cambridge, Mass., and the Jarves Collection, Yale University, New Haven, Conn., may be purchased from those museums. Besides these four main collections of Italian pictures in America, that of the New York Historical Society, New York, and of Mrs. John L. Gardner, Fenway Court, Boston, occasionally open to the public, are noteworthy. The art museums of Worcester, Mass., Providence, R. I., Cleveland, O., Indianapolis, Detroit, Chicago and Minneapolis have Italian pictures of quality. There is something in the Wilstach Gallery, Philadelphia, and whenever the John G. Johnson Collection shall be worthily exhibited, Philadelphia will be rich indeed in Italian art. The student should not fail to utilize such local resources, however slight they may seem, for one minor original thoroughly enjoyed is worth days of poring over reproductions.