ALL students of the Italian Cinquecento who were able to visit the exhibition of drawings by Perino del Vaga and his associates, held in the Print Room of the Uffizi from April until the end of June, have reason to feel grateful to Dr Anna Forlani-Tempesti who sponsored the exhibition, and to Dr Bernice Davidson who selected the drawings for it and who compiled the outstandingly useful catalogue. The exhibition was an exceptionally rewarding one for two reasons: firstly, because the material shown was not confined to what the Uffizi alone possesses but contained important drawings from the Louvre and the Albertina; and secondly, because the catalogue is the work of someone who has studied Perino and his ambiente for several years and who is, therefore, equipped to discuss the context of each drawing, its date, and its stylistic character, with the authority that comes from long familiarity with the entire range of the artist. Much in this catalogue is unpublished, many of its entries are likely to prove definitive ones, and there is included, too, a great deal of comment on comparative material not actually exhibited. I have only two minor criticisms of the catalogue to offer. The first is that there is no chronological table giving us the basic facts and dates of Perino's career, something always helpful in a catalogue of this kind and which is particularly needed in Perino's case, given his rather complex movements around Italy at certain stages of his life. The second is what seems to me to be a certain reluctance on Dr Davidson's part, on some occasions, to give us the arguments of other writers when these do not convince her. One case of this is her omission to mention Dr Brugnoli's discussion of the dating of the Pucci Chapel frescoes in S. Trinith de' Monti in Rome. Dr Brugnoli's reason for her dating may not be persuasive, but she did have a reason which is not mentioned here.