AFTER Carlo Maratti's death in 1713 the vast quantity of drawings which formed his fonds d'atelier  was not entirely dispersed. Substantial groups remained with his daughter, Faustina, or were kept by various of his pupils and friends. Several of these groups have stayed almost intact to this day, the most significant being the collection of studio material taken to Spain by Andrea Procaccini in 1720 and now in the Academia de San Fernando, Madrid; the collection in the Kunstmuseum, Diisseldorf, which was bought by Lambert Krahe in Rome from the heirs of Maratti's friend Giuseppe Ghezzi ; and the several dozen sheets in Berlin which had belonged to Bartolommeo Cavaceppi. The smaller group now in the Royal Collec- tion at Windsor Castle comes from the Albani Collection, having probably been acquired from the Maratti estate by Clement XI between 1713 and 1721.

  was not entirely dispersed. Substantial groups remained with his daughter, Faustina, or were kept by various of his pupils and friends. Several of these groups have stayed almost intact to this day, the most significant being the collection of studio material taken to Spain by Andrea Procaccini in 1720 and now in the Academia de San Fernando, Madrid; the collection in the Kunstmuseum, Diisseldorf, which was bought by Lambert Krahe in Rome from the heirs of Maratti's friend Giuseppe Ghezzi ; and the several dozen sheets in Berlin which had belonged to Bartolommeo Cavaceppi. The smaller group now in the Royal Collec- tion at Windsor Castle comes from the Albani Collection, having probably been acquired from the Maratti estate by Clement XI between 1713 and 1721.

IN the course of carrying out research on Pugin as a designer and collector for the Pugin Exhibition currently on show at the Victoria and Albert Museum, it has become apparent that Pugin was more involved in the early history of the Museum than had previously been thought. In the present article I shall discuss my preliminary findings on this subject, which I hope to explore at greater length on a subsequent occasion.

PURE landscape is one of the rarest subjects in fifteenth-century drawings. With the obvious exception of Leonardo, no firmly attributable landscape drawings have until now come to light, though it is reasonable to assume that many were made - a prob- ability reinforced by the extensive group of landscape studies by Fra Bartolommeo dating from the early part of the next century.

AS is well known, the Département des Arts Graphiques at the Louvre contains a small but choice group of drawings by Filippino Lippi, spanning a large part of the career of this fertile and capricious artist who is increasingly emerging as one of the most interesting artistic figures in late-fifteenth-century Florence. The Louvre drawings begin with the five early sheets, dated by Innis Shoemaker to 1480-85, that come from a coherent group of life drawings, predominantly of youthful draped figures. There follow the beautiful metal-point study on prepared greyish-pink paper for the head of Tanai de'Nerli in the altar-piece commissioned by that patron for S. Spirito, Florence (before 1488), and the sheet of a Nereid accompanied by two putti and a faun, which is associable with the studies after the antique from Filippino Lippi's Roman period and with the candelabra of the Carafa chapel at S. Maria sopra Minerva. His late style is represented by the drawings made in preparation for the never-executed Death of Meleager, and for a Pieta with Sts Paul the Hermit and Anthony Abbot, destined for the Certosa of Pavia.

with Sts Paul the Hermit and Anthony Abbot, destined for the Certosa of Pavia.

Two landscape drawings in a private collection in Moscow can be associated with the work of Georg Hoefnagel (Figs.38 and 42).* The larger, in pen and ink with water-colour (Fig.38), represents a town viewed from a hill.' In the background palatial houses, towers and church spires are seen to rise above the urban fabric, which is surrounded by a wall and moat. Nearer the spectator are fields and meadows dotted with small houses, trees and cows. Along the winding road which leads to the town gate are carriages and carts, with a man on horseback and a few others on foot. In the foreground are four figures. The two women in front are richly dressed: the one on the left hides her face with a cloak and looks sideways at her neighbour who holds up a feathered fan. Behind them is a third woman, prob- ably a servant, wearing a wide-brimmed hat; on her shoulders she carries a pole at the ends of which are attached a basket and a bag. On the right of the group is a man in a feathered hat who is armed with a sword and carries a flask.

THE recent Lodovico Carracci exhibition in Bologna and Fort Worth - which, regrettably, did not include drawings - and a forthcoming show of Bolognese drawings at the Departement des Arts Graphiques at the Louvre provide a suitable context in which to publish a preparatory study in the Louvre (Fig.45)2 for one of Lodovico Carracci's most important paintings, the Crowning with thorns in the Pinacoteca Nazionale, Bologna (Fig.44). This previously unpublished sheet was discovered among the anonymous sixteenth-century Italian drawings, and it seems odd that such a rigorous and powerful study should have passed unnoticed. After an initial thought that the drawing might be Florentine, given its precision and formal mastery, I was able to establish the connexion with the Bolognese picture that makes the attribution to Lodovico indisputable: the sim- ilarity between the study and the kneeling torturer raising his right arm on the right-hand side of the painting is exact. Drawings of this type by Lodovico do not survive in great quantity, and there is no other study like it in the Louvre.

in the Pinacoteca Nazionale, Bologna (Fig.44). This previously unpublished sheet was discovered among the anonymous sixteenth-century Italian drawings, and it seems odd that such a rigorous and powerful study should have passed unnoticed. After an initial thought that the drawing might be Florentine, given its precision and formal mastery, I was able to establish the connexion with the Bolognese picture that makes the attribution to Lodovico indisputable: the sim- ilarity between the study and the kneeling torturer raising his right arm on the right-hand side of the painting is exact. Drawings of this type by Lodovico do not survive in great quantity, and there is no other study like it in the Louvre.

IN his Notizie de'Professori del Disegno, compiled in the 1790s, Marcello Oretti writes that Luigi Tadolini was then at work engraving 'un esemplare di teste tolte da varij capriccii a penna di mano delli Gandolfi'. While the writings of this Bolognese erudito, who recorded all the minutiae of artistic life in Bologna in a somewhat unsystematic manner, are not always completely reliable, this particular statement was confirmed by Lidia Bianchi's note in her book on the Gandolfi published in 1936 that she had seen two sets of a collection of prints by Tadolini after drawings by Gaetano Gandolfi in the Isolani Lupari Collection in Bologna. Unfortunately, however, the archives of this family have been inaccessible to scholars since the Second World War, and those who have studied the very numerous extant drawings of picturesque heads by the Gandolfi have paid little attention to the possible existence of a collection of engravings derived from the drawings. For attributional questions concerning the latter, therefore, only the internal evidence of the sheets themselves has been considered. Initially modern critics were inclined to attribute these elegant capricci to Gaetano on the basis of the old inscription, 'Gaitan Gandolf Bolognise fecit', on a dawing of eleven heads in the Albertina (inv.no. 2961). Since the publica- tion in 1973 of a sheet in the Uffizi (inv.no. 93883) signed by Mauro, Gaetano's son and follower, however, the tendency has been reversed, and many of the previously known studies thought to be by the father, along with the new ones which regularly appear on the international art market, have been catalogued as by the youngest of the Gandolfi.

', on a dawing of eleven heads in the Albertina (inv.no. 2961). Since the publica- tion in 1973 of a sheet in the Uffizi (inv.no. 93883) signed by Mauro, Gaetano's son and follower, however, the tendency has been reversed, and many of the previously known studies thought to be by the father, along with the new ones which regularly appear on the international art market, have been catalogued as by the youngest of the Gandolfi.

IT may have passed unnoticed that the drawing of a man seated at a harpsichord by Frangois-Andre Vincent in the Metropolitan Museum, New York (Fig.60),signed and dated 'Vincentf.[ecit] R.[oma] 1774' must almost certainly portray the Swedish sculptor Johan Tobias Sergel. The two artists met in Rome, where Sergel had been living since 1767 and where Vincentwas a pensionnaire at the French Academy from 1771 to 1775.2 There is a charming, rapidly drawn pen-sketch of Vincent among the drawings by Sergel in the Nationalmuseum, Stockholm, and it would now seem that these two artists, who both excelled at caricaturing their contemporaries, also left remarkably sympathetic portraits of each other.

at the French Academy from 1771 to 1775.2 There is a charming, rapidly drawn pen-sketch of Vincent among the drawings by Sergel in the Nationalmuseum, Stockholm, and it would now seem that these two artists, who both excelled at caricaturing their contemporaries, also left remarkably sympathetic portraits of each other.