IN working with an architect on the design and construction of an art museum - that is, with Moshe Safdie on the National Gallery of Canada in Ottawa (Figs. 5 and 6) - I have found myself as an art historian uneasily balancing the prejudices of our discipline about architects against our commitment to the protection of the creative artist, from which we would not exclude the architect - an unsettling beginning to a complicated collaboration.

IN the late 1370s eighty-four scenes from the Book of Revelation were represented on a new colossal scale, in the form of tapestries, woven in the workshop of Nicholas Bataille of Paris, from cartoons by Jean Bondol, King Charles V's painter: the Angers Apocalypse tapestries were ordered by Louis I d'Anjou, as splended furnishings for his chapel in the ducal palace at Angers. In spite of their size, it is generally agreed that they must derive their picture cycle, to a lesser or greater extent, from an earlier illustrated manuscript or manuscripts. King Charles V is known to have lent a volume from his library for the purpose. From the second quarter of the thirteenth century onwards a number of different formulae for representing the events in the Apocalypse had been developed. This paper explores the problem of the specific kind of Apocalypse programme that was available to Jean Bondol as a model.

THE name of Philothée-Franqois Duflos recurs constantly in the literature devoted to the early career of Giovanni Battista Piranesi. Surprisingly, however, he has been little studied. Next to Piranesi, Duflos contributed the largest number of etchings to the collection of views of Rome published by Fausto Amidei in 1748, Varie vedute di Roma antica e moderna disegnati e intagliati da celebri autori. The two artists had also engraved plates after the drawings of Giuseppe Zocchi for the latter's Vedute delle ville di Firenze, published in 1744;2 and as late as 1763 we find them associated as contributors to Ridolfino Venuti's Accuratae succinta descrizionet opograficad elle antichitå di Roma.

IN his latest account of Jusepe de Ribera's career as a draughtsman, Jonathan Brown aptly states that while 'somewhat over a hundred drawings have been attributed to Ribera,... there is reason to believe that this number represents only a small part of his production'. The artist probably drew almost every day throughout his whole creative life - a practice which, according to De Dominici, writing in 1742, 'is witnessed by the large number of his drawings that can be found'.

'THE Greek Revival in British Architecture - indeed the Greek Revival in the world - began symbolically in 1758-9 with the Doric landscape temple at Hagley... That date is sacrosanct'.  In fact the Greek Revival began two years earlier at Nuneham Courtenay, Oxfordshire, where the first Earl Harcourt used an Athenian drawing of James Stuart's as the model for the main windows of his new house, Nuneham Park (Figs.54 and 55).