BIBLIOGRAPIIY. The chief original source of in formation remains the biography of Vasari (ed. Milanesi, Florence, 1878; English translation by Blashfield and Hopkins. New• York, 1896). The biographies of the eighteenth and early nineteenth centuries are antiquated, except those of Rumohr (Berlin, 1831), and Passavant (Leipzig, 1839; Eng. trans., London, 1872 ), which contains a valuable catalogue of Raphael's works. The numerous volumes of Gruyer (Paris, 186-t, et seq.) are full of copious information. Other biographies are those of Wolzogen ( Leipzig, 1805: Eng. trans., London, 1806) : Fiirster (Leip zig. 18671 : Grimm (ib., 1S72; Eng. ed., Boston, 1588) ; Perkins (ib., 1878) ; }Alike (Dresden, 1882) ; Minghetti (Bologna, 1885) ; Riepenhausen and Dohme (Berlin, 18881 ; Ch'uent (Paris, n. d.) ; Liitzow (Vienna, 1891) : Cartwright (Lon don, 1895) ; Knackfuss (Leipzig, 1895) ; and Strachey (London, 1900). The most important modern works are those of Anton Springer (Leip zig, 1878). a scientific, appreciative, and impar
tial production: Eugene Mintz (Paris, 18811, remarkable for its illustrations; Crowe and Caval caselle (London 1882), erudite and careful. The best technical criticisms on Raphael's early pe riod, and. indeed, on many of his later works, are those of Morelli, in his Italian Masters (London, 1892-93), who has almost revolutionized current opinion. For• his early period consult also monographs of Seidlitz (Munich, 1S91) and Gronau (Berlin, 1902) ; for a good characteriza tion and list of Raphael's works. Berensou. Ventral Italian Painters (New York, 1897). For his architectural works, consult: Pontani (Rome, 18-15) ; Geymiiller (Milan, 1883) ; and Hofmann and Bloch (Dresden. 1900). For his drawings, see the studies of Koopman]] (Marburg, 1S95-97) and Fischell (Strasshurg. 189S).