England is richest in Guardis, of any country, but France in one respect is better off, in possessing no less than eleven fine paintings of public ceremonials. Guardi may be considered the originator of small sketches, and perhaps the precursor of those glib little views which are handed about the Piazza at the present day. His drawings are fairly numerous, and are remarkably delicate and incisive in touch. A large collection which he left to his son is now in the Museo Correr. In his later years he was reduced to poverty and used to exhibit sketches in the Piazza, parting with them for a few ducats, and in this way flooding Venice with small landscapes. The exact spot occupied by his _bottega_ is said to be at the corner of the Palazzo Reale, opposite the Clock Tower. The house in which he died still exists in the Campiello della Madonna, No. 5433, Parrocchia S. Canziano, and has a shrine dedicated to the Madonna attached to it. When quite an old man, Guardi paid a visit to the home of his ancestors, at Mastellano in the Austrian Tyrol, and made a drawing of Castello Corvello on the route. To this day his name is remembered with pride in his Tyrolean valley. SOME WORKS OF GUARDI Bergamo. Lochis: Landscapes. Berlin. Grand Canal; Lagoon; Cemetery Island. London. Views in Venice. Milan. Museo Civico: Landscapes. Poldi-Pezzoli: Piazzetta; Dogana; Landscapes. Oxford. Taylorian Museum: Views in Venice. Padua. Views in Venice. Paris. Procession of the Doge to S. Zaccaria; Embarkment in Bucentaur; Festival at Salute; "Jeudi Gras" in Venice; Corpus Christi; Sala di Collegio; Coronation of Doge. Turin. Cottage; Staircase; Bridge over Canal. Venice. Museo Correr: The Ridotto; Parlour of Convent. Verona. Landscapes. Wallace Collection. The Rialto; San Giorgio Maggiore (two); S. Maria della Salute; Archway in Venice; Vaulted Arcades; The Dogana. BIBLIOGRAPHY It is an advantage to the student of Italian art to be able to read French, German, and Italian, for though translations appear of the most important works, there are many interesting articles and monographs of minor artists which are otherwise inaccessible. Vasari, not always trustworthy, either in dates, facts, or opinions, yet delightfully human in his histories, is indispensable, and new editions and translations are constantly issued. Sansoni's edition (Florence), with Milanesi's notes, is the most authoritative; and for translations, those of Mrs. Foster (Messrs. Blashfield and Hopkins), and a new edition in the Temple classics (Dent, 8 vols., 2s. each vol.). Ridolfi, the principal contemporary authority on Venetian artists, who published his _Maraviglie dell' arte_ nine years after Domenico Tintoretto's death, is only to be read in Italian, though the anecdotes with which his work abounds are made use of by every writer.