Since Mr. Ruskin, nearly fifty years ago, first opened our eyes to the wonder and beauty of early Florentine painting, a vast amount of careful study has been bestowed upon the subject by scholars of all nationalities. In England, the earnest and thoughtful writings of Lord Lindsay, of Mrs. Jameson and Lady Eastlake, have been succeeded by the more serious labours of Sir Joseph Crowe and Signor Cavalcaselle, whose history of Italian painting still retains a high place among the best authorities. In France, M. Müntz and M. Lafenestre, in Germany, Dr. Bode, Dr. Woltmann and Dr. Woermann and a host of other well-known critics have followed in their steps. Above all, Signor Morelli, by his introduction of a more exact and scientific study, has inaugurated a new epoch in art-history. During the last few years his method has been pursued in different directions, with far-reaching results, by such distinguished connoisseurs as Signor Frizzoni, Dr. Richter, Dr. Wickhoff of Vienna, Dr. Schmarzow and Mr. Berenson. At the same time a flood of new light has been thrown upon the lives of Renaissance artists by recent researches in the archives of Florence, and the records of monastic houses and noble families. Many of these newly-discovered documents were incorporated in Signor Milanesi's edition of Vasari's "Lives," and are mentioned by Sir Henry Layard in the latest edition of Kugler's "Handbook of Italian Painting." But each year brings new facts to light and adds to our knowledge
