If the second method commends itself to the teacher, the schoolmen, limited both as to material and method, with their appeal to authority, can be presented in sharp contrast to the critics and scoffers of the Renaissance with their final appeal to the reason. There is some danger of over-emphasizing the follies of the former and of failing to estimate their work at its true value. (On this point see Adams, p. 368, and footnote.) If it is true that St. Peter’s suffers by contrast with the great achievements in the Romanesque and the Gothic, not so a Raphael, a da Vinci, and a Titian when placed side by side with a Cimabue, a Giotto and a Fra Angelico; or the rude reliefs on the doors of Notre Dame and the Strasburg Cathedral, when placed beside the bronze doors of a Ghiberti, “worthy to stand as the gates of Paradise.” The discoveries of a Columbus, a Magellan and a Vasco da Gama, when contrasted with the medieval conception of the world as depicted by their greatest cartographers, emphasize the remarkable progress of this later age in “discovering the world,” as well as man. Finally the misconceptions and pseudo-scientific treatises of the medieval schoolmen sink into insignificance beside the work of a Galileo and a Copernicus and the far-reaching results of the printing press. Use of Illustrative Material. Whichever method may be followed, it will be found that illustrations will add much to the interest of the class and make clearer the characteristics of the painting and sculpture of the period. A few pictures carefully selected will serve the purpose much better than a larger number. The “Madonna and Christ-Child,” by Cimabue;[6] the “Death of St. Francis,” by Giotto, and the “Coronation of the Virgin,” by Fra Angelico, will serve as illustrations of some of the faults of medieval painting. Care should be taken, however, to point out the fact that some of these artists are classed among the early Renaissance painters and their work marks a decided advance over that of their predecessors. The “Last Judgment,” by Michelangelo; the Sistine “Madonna,” by Raphael; the “Assumption of the Virgin,” by Titian, and da Vinci’s “Last Supper” are numbered among the “World Pictures,” and illustrate that mastery of technique and conception which has made their names so famous. Pictures of Michelangelo’s Moses, his David, and his figures on the tombs of the Medici, and Ghiberti’s bronze doors for the baptistry of Florence can easily be secured to illustrate the work of the Renaissance sculptors. A suggestion has already been made as to medieval sculpture. The Perry Picture Company or the Cosmos Picture Company can probably supply such pictures as may be needed at a very moderate cost. That teacher is especially fortunate who has access to a good art museum. The Metropolitan Museum of Art of New York City offers special facilities to teachers and classes wishing to use their collections. Literature.