It is rare for the art historian to be able to pinpoint an event which reflects a broader change in the course of contemporary artistic developments. In this article we aim to show that just such a shift took place in the patronage of the Oratorian Order around 1609 when the engraver Luca Ciamberlano assumed responsibility for a series of engravings representing scenes from the life of Philip Neri, with Guido Reni becoming the principal artist responsible for the designs.' In taking control of the project, it appears that they replaced Cristoforo Roncalli, previously the favoured artist of the Roman Oratory, and his pupil Bartolomeo Cavarozzi.2 A similar switch was also taking place at more or less the same time in the decoration of the small oratories flanking the church of S. Gregorio Magno,3 and clearly represented a deliberate changing of the guard from the old Oratorian style of depiction - a kind of subdued Mannerism - to Guido Reni's modern style of delicate naturalism. The patron responsible for employing Roncalli at S. Gregorio had been Cardinal Cesare Baronio and it was following his death in 1607 that the new Commendatore of the Oratorians, Scipione Borghese, brought in Guido Reni. The same individuals in all likelihood played nearly identical rOles in the project for the print series, as we shall suggest.4

The remarkably small group of surviving drawings by Giuseppe Maria Crespi can now be augmented with a red- chalk study in the Castle Museum at Norwich (Fig. 11), here published for the first time.' It shows a group of urchins playing 'cappelletto'', an Italian game of chance similar to the common wager known in English as 'Heads or Tails': the cappelletto or hat is used to toss the coins and then to cover them, ensuring fair play.2 The drawing is a preparatory study for one of a pair of etchings by Crespi of children gambling, the other of which shows boys throwing dice (Figs. 13 and 14).3 The Norwich drawing marks the first appearance in Crespi's work of the game of cappelletto, a theme which recurs in both his prints and his paintings during the first two decades of the eighteenth century, but has never been the object of particular study.4 The purpose of this article is thus not only to present a new work by Crespi in Britain, but also to analyse the ways in which the subject of this plebeian game evolved in Crespi's art.

In a biographical note at the beginning of The Antiquities of Athens, James 'Athenian' Stuart writes that he spent 'six or seven years in the study of painting' after arriving in Italy in 1742.' Until now, the only other evidence for Stuart's activities during these years has been the notice in Thomas Jones's memoirs, which relates of a certain Nulty that he 'subsisted at Venice & other Cities as an itinerant Fan-painter, & if I recollect right, he told me that the late ingenious Mr. Stewart (the Athenian Stewart as he was called) was his Associate in the same profession . .'.2 A letter recently discovered among the large collection of Grand-Tour manuscripts in the Osborn Collection at Yale University's Beinecke Library (see the Appendix, below) now sheds more light on Stuart's early career in Italy before the publication of his and Nicholas Revett's Proposals for publishing an accurate description of the Antiquities of Athens in 1748. Written in the margins of an etching signed 'J. Stuart sculp' after a drawing by 'Pomarancio' (Fig.23), it alerts us to a hitherto unknown facet of Stuart's activities as well as providing a record of an otherwise unknown old-master drawing.

Paul Klee's Anima errante (Fig.24) is one of two works by the artist in the collection of the Hugh Lane Municipal Gallery of Modern Art in Dublin, donated under the terms of the Charles Bewley Bequest in 1969.' Charles Bewley (1888-1969) was an unusual and controversial figure. The first Irishman since Oscar Wilde to win the Newdigate Prize for English verse at Oxford (while at New College, in 1910),2 he was called to the Irish Bar in 1914 and subsequently became a diplomat. He represented Ireland as resident Minister to the Vatican from 1929 to 1933, and was then in Berlin until 1939, when his somewhat pro-Nazi, anti-semitic and anti- British stance led to his forced resignation without pension. He continued to live in Germany during the war, mixing with SS officers and diplomats, until his arrest by the Americans in 1945.3 Following his release, Bewley retired to Rome where he lived at the Via Antonelli, surrounded by his small collection of pictures. It is perhaps paradoxical that of the twenty-two works he owned at his death, eleven are by artists who were denounced as degenerate by the regime he so much admired. In addition to four by Klee, these included works by Baumeister, Pechstein, Rohlfs, Schmidt-Rotluff, and Vlaminck.4 No record has been found of when or where Bewley purchased Anima errante, but it may have been at the Brook Street Gallery, London, where the work was evidently exhibited in November-December 1960.5

On 8thJanuary 1899, the fourteen-year-old Frits Lugt (1884-1970) began to write out a fair copy of his newly completed biography of Rembrandt.' As is well known, Lugt, an art-historical prodigy, had already manifested his connoisseurial talents by cataloguing the Museum Lugtium at the age of eight, and at twelve embarking on a description of the Netherlandish drawings in the Rijksmuseum.