Crowe and Cavalcaselle's _Painting in North Italy_ (Murray) is a storehouse of painstaking, minute, and, on the whole, marvellously correct information and sound opinion. It supplies a foundation, fills gaps, and supplements individual biographies as no other book does. For the early painters, down to the time of the Bellini, _I Origini dei pittori veneziani_, by Professor Leonello Venturi, Venice, 1907, is a large book, written with mastery and insight, and well illustrated; _La Storia della pittura veneziana_ is another careful work, which deals very minutely with the early school of mosaics. In studying the Bellini, the late Mr. S. A. Strong has _The Brothers Bellini_ (Bell's Great Masters), and the reader should not fail to read Mr. Roger Fry's _Bellini_ (Artist's Library), a scholarly monograph, short but reliable, and full of suggestion and appreciation, though written in a cool, critical spirit. Dr. Hills has dealt ably with _Pisanello_ (Duckworth). Molmenti and Ludwig in their monumental work _Vittore Carpaccio_, translated by Mr. R. H. Cust (Murray, 1907), and Paul Kristeller in the equally important _Mantegna_, translated by Mr. S. A. Strong (Longmans, 1901), seem to have exhausted all that there is to be said for the moment concerning these two painters. It is almost superfluous to mention Mr. Berenson's two well-known volumes, _The Venetian Painters of the Renaissance_, and the _North Italian Painters of the Renaissance_ (Putnam). They are brilliant essays which supplement every other work, overflowing with suggestive and critical matter, supplying original thoughts, and summing up in a few pregnant words the main features and the tendencies of the succeeding stages. In studying Giorgione, we cannot dispense with Pater's essay, included in _The Renaissance_. The author is not always well informed as to facts--he wrote in the early days of criticism--but he is rich in idea and feeling. Mr. Herbert Cook's _Life of Giorgione_ (Bell's Great Masters) is full and interesting. Some authorities question his attributions as being too numerous, but whether we regard them as authentic works of the master or as belonging to his school, the illustrations he gives add materially to our knowledge of the Giorgionesque. When we come to Titian we are well off. Crowe and Cavalcaselle's _Life of Titian_ (Murray, out of print), in two large volumes, is well written and full of good material, from which subsequent writers have borrowed. An excellent Life, full of penetrating criticism, by Mr. C. Ricketts, was lately brought out by Methuen (Classics of Art), complete with illustrations, and including a minute analysis of Titian's technique. Sir Claude Phillips's Monograph on Titian will appeal to every thoughtful lover of the painter's genius, and Dr. Gronau has written a good and scholarly Life (Duckworth).