es he mentions, except one or two at St.
Petersburg, which are, however, well known from the photographs of MM.
Braun & Cie. The attributions are based on the results of the most
recent research. Even such painstaking critics of some years ago as
Messrs. Crowe and Cavalcaselle laboured under terrible disadvantages,
because most of their work was done at a time when travelling was much
slower than it has now become, and when photography was not sufficiently
perfected to be of great service. Rapid transit and isochromatic
photography are beginning to enable the student to make of
connoisseurship something like an exact science. To a certain extent,
therefore, Messrs. Crowe and Cavalcaselle have been superseded, and to a
great degree supplemented by the various writings of Morelli, Richter,
Frizzoni, and others. The author takes pleasure in acknowledging his
indebtedness to the first systematic writers on Italian painting no less
than to the perfectors of the new critical method, now adopted by nearly
all serious students of Italian art. To the founder of the new
criticism, the late Giovanni Morelli, and to his able successor, Dr.
Gustavo Frizzoni, the author feels bound to ascribe many of his
attributions, although a number are based on independent research, and
for these he alone is responsible. Special thanks are due to a dear
friend, Enrico Costa, for placing his notes of a recent visit to Madrid
at the author's disposal. They have been used, with a confidence
warranted by Signor Costa's unrivalled connoisseurship, to supplement
the author's own notes, taken some years ago.

Having noted the dependence of scientific art study upon isochromatic
photography, the author is happy to take this opportunity of expressing
his gratitude to such able photographers as Loewy of Vienna, Tamme of
Dresden, Marcozzi of Milan, Alinari Bros. of Florence, and Dominic
Anderson of Rome, all of whom have devoted themselves with special zeal
to the paintings of the Venetian masters. The author is peculiarly
indebted to Signor Anderson for having materially assisted his studies
by photographing many pictures which at present have a scientific rather
than a popular interest.

The frontispiece is a reproduction of Giorgione's "Shepherd" at Hampton
Court, a picture which perhaps better than any other expresses the
Renaissance at the most fascinating point of its course. The author is
indebted to Mr. Sidney Colvin for permission to make use of a