HOLBEIN'S miniature of the lady now commonly known as 'Mrs Pemberton' (Fig.2) first came to light in 1865, when it was lent by the collector John Heywood Hawkins (1803- 77) to the Special Exhibition of Portrait Miniatures at the South Kensington Museum.1 The large collections formed by Mr Hawkins were inherited by his brother Christopher Henry Thomas Hawkins, after whose death in 1903 they were dispersed in several sales at Christie's. The Holbein miniature was sold on 13th May 1904 to Duveen, from whom it was purchased by J. Pierpont Morgan. After the sale of his miniatures in 1935, it was acquired for the Victoria & Albert Museum.

AUGUSTE Rodin's interest in portraits never waned. His first sculpture, in 1860, was a bust of his father; his last, in 1916, a portrait of his friend, Etienne Clementel. From 1877, when he returned to Paris from Brussels to begin his career as an independent sculptor, until his death in 1917, he made fifty-six known portraits of his contemporaries.

EVER since 1887, when Bernard Prost published a series of extracts from the French royal accounts referring to the activities of Roman painters in the service of the kings of France, historians have made use of these documents in tracing the development of painting and mosaic in Rome after the departure of the papacy. Despite the contrary opinion of Prost himself, expressed subsequently, the majority of scholars have accepted that the artist invariably given as Philippus Bizuti in the French documents is identical with the mosaicist Filippo Rusuti, who prominently signed the facade mosaics of Santa Maria Maggiore in Rome 'PhILLIPP. RVSVTI. FECIT. hOC.OVS'. Despite Prost's reservations there seems in fact to be every likelihood that Filippo Rusuti and Philippus, pictor regis are one and the same person.

AMONG the drawings of Albrecht Altdorfer the majority are composed in pen and ink, usually with brilliant white highlights on prepared paper. Although displaying great conceptual and graphic freedom and animation, they seem to have been made as complete images, not anticipatory of a more final statement in drawing or another medium. Alongside these, there also exists a much smaller surviving group of studies and preparatory drawings for prints and paintings which tend to be more loosely sketched.

I should like to append two notes to my discussion of the recently discovered autograph version of Bronzino's Portrait of Cosimo I de' Medici, published in the September 1983 issue of THE BURLINGTON MAGAZINE, pp.527-39. The first concerns the picture's early history, one aspect of which had remained annoyingly unresolved. The provenance had proved traceable without interruption from the present day back to 1551, when the painting was first recorded in the collection of Paolo Giovio; however, the circumstances of Giovio's acquistion of the portrait, painted around 1544, could only be conjectured. Giovio's collection had been formed primarily by solicitation, one result of which was that many of the works of art given him were of unremarkable quality. I suggested 'it would seem most likely that Cosimo made a gift of the picture to Giovio, much as he had bestowed on the Bishop vestments, a house in Florence, a generous stipend, and tapestries from the Medici Arazzeria. Of these, the Bronzino would seem the most appropriate gift for the Duke's portrait-collecting friend and advisor. That so important a version of the portrait (rather than a workshop copy) was sent may reflect not only the high regard with which Giovio was held by Cosimo - as well as by Bronzino, who, Vasari noted, was amico suo - but also Giovio's own responsibility for the picture's iconography' (p.533).

WHEN Jorge Manuel Theotocopuli compiled the inventory of his possessions on the occasion of his second marriage in 1621 he included twenty-one brief titles, or descriptions, of 'libros de arquitetura'. In the list he had made of his father's library shortly after the latter's death in 1614 he seems to have soon tired of itemising the books and resorted instead to recording them in numbered groups by language or subject. In the latter category there were 'diez y nuebe libros de arquitetura'. It has been generally accepted as at least very probable that the nineteen architectural books which Jorge Manuel inherited from his father were included among the twenty-one titles he listed seven years later. On the basis of this probability I shall here attempt to identify two books in the 1621 inventory which are designated, with tantalising brevity, the one as Antiguedades de roma, and the other as Prospetibas y antiguedades de roma.

IN 1716, the architect Giovanni Battista Contini drew up an inventory of a number of drawings by Carlo Fontana (1638- 1714) that Pope Clemente XI was interested in acquiring and that, in fact, were in great part eventually bought by him. This inventory comprised twenty-six volumes numbered consecutively and one last [27] '[Di piü] Originaled el Tempio Vaticano'; since this entry has been crossed out, it has led to the belief that it was not included by Contini in the lot offered to Pope Clemente XI.' In 1721, the Pope's nephew, Cardinal Alessandro Albani, inherited the group of drawings, adding to it two new volumes of designs by Fontana, his workshop and some of his pupils.

THERE is continuing interest in identifying the exact settings of the Petworth interiors painted by Turner in the 1830s, paintings which were neither exhibited nor given titles by the artist. In the 1984 Revised Edition of Butlin & Joll's The Paintings of J.M. W. Turner, the Music Party, No.447, has been taken to be of an interior in East Cowes Castle, and A Vaulted Hall, No.450 (Fig.57) has been dissociated from the group of Petworth interiors and figure subjects. The entry for A Vaulted Hall describes it as 'Distinct in size and relative lack of colour from the Petworth Interiors, Nos.445-49, but probably of about the same date', noting that Gowing compared it with Snowstorm, Avalanche and Inundation, exhibited in 1837 (No.371).

THE Painting with houses (Fig.59) of 1909 in the Stedelijk Museum, Amsterdam, is one of the works that mark Wassily Kandinsky's transition to a more flowing and abstract style of painting. As yet no one has pointed out the relationship between this work and the votive panel for the plague (Fig.60) in the parish church of St Nikolaus at Murnau in Southern Germany, which was illustrated in the Blaue Reiter almanac. It was probably Kandinsky himself who arranged for the work to be reproduced in this publication. He had the chance to study the original work in 1908 and 1909, when he left his residence in Munich for an extended stay at Murnau. It would seem likely that this example of folk art served as a source of inspiration for the Painting with houses.