In studying the architectural branch of the subject, I have had recourse
to Fergusson's "Illustrated Handbook of Architecture," to Burckhardt's
"Cicerone," to Grüner's "Terra-Cotta Buildings of North Italy," to
Milizia's "Memorie degli Architetti," and to many illustrated works on
single buildings in Rome, Tuscany, Lombardy, and Venice. For the history
of Sculpture I have used Burckhardt's "Cicerone," and the two important
works of Charles C. Perkins, entitled "Tuscan Sculptors," and "Italian
Sculptors." Such books as "Le Tre Porte del Battistero di Firenze,"
Grüner's "Cathedral of Orvieto," and Lasinio's "Tabernacolo della Madonna
d'Orsammichele" have been helpful by their illustrations. For the history
of Painting I have made use principally of Vasari's "Vite de' più
eccellenti Pittori," &c., in Le Monnier's edition of Crowe and
Cavalcaselle's "History of Painting," of Burckhardt's "Cicerone," of
Rosini's illustrated "Storia della Pittura Italiana," of Rio's "L'Art
Chrétien," and of Henri Beyle's "Histoire de la Peinture en Italie." I
should, however, far exceed the limits of a preface were I to make a list
of all the books I have consulted with profit on the history of the arts
in Italy.

In this part of my work I feel that I owe less to reading than to
observation. I am not aware of having mentioned any important building,
statue, or picture which I have not had the opportunity of studying. What
I have written in this volume about the monuments of Italian art has
always been first noted face to face with the originals, and afterwards
corrected, modified, or confirmed in the course of subsequent journeys to
Italy. I know that this method of composition, if it has the merit of
freshness, entails some inequality of style and disproportion in the
distribution of materials. In the final preparation of my work for press I
have therefore endeavoured, as far as possible, to compensate this
disadvantage by adhering to the main motive of my subject--the