In 1982 John Pope-Hennessy published in this Magazine a bronze statuette of a satyr (Fig.2) which had come to Ught three years earUer in a private collection in Switzerland. Subsequently acquired by the J. Paul Getty Museum, Los Angeles, it represents one of the two colossal bronze Satyrs that were intended by Benvenuto Cellini to guard the door way of the Porte Doree at Fontainebleau, and would have supported the celebrated bronze lunette, the Nymphe de Fon tainebleau, now in the Louvre (see Fig. 13). Commissioned by Francois I in January 1542, the project was abandoned after Celini's departure from France in 1545, and the two Satyrs remained uncast. Pope-Hennessy's identification has never been challenged: it was corroborated by a drawing of the same Satyr inscribed in Celini's hand as intended for Fontainebleau (Fig.i), and by the sculptor's description of the Satyrs in his autobiography. But while Pope-Hennessy estabished that the bronze statuette and drawing related to the left-hand Satyr, he saw no reason to speculate on the possible existence of similar works of art which might relate to the right-hand figure. During the preparation of a forthcoming catalogue raisonne of sculpture in the Royal Collection, a bronze statuette (Fig.3) of essentially the same format as the Getty bronze (and with the same kind of hollow back) has been identified as its counterpart, and can now serve to complete Celini's Porte Doree design.

Marcantonio Michiel's Notizia dyopere di disegno is one of the most important primary sources on Italian renaissance art. Composed between c.1521 and 1543, it comprises approximately one hundred folios of handwritten notes describing public works of art and private collections in seven north Italian cities: Padua, Cremona, Milan, Pavia, Bergamo, Crema and Venice. Michiel wrote it over a period of more than twenty years, often making additions and corrections to entries he had written years before. In the fascicle devoted to Padua, as Giulio Coggiola noted, at least four different inks can be distinguished with the naked eye, but the import of Michiel's textual changes becomes apparent only through an analysis of the content. Combining palaeographic and codicological analysis of the original manuscript with research on the works of art he described has permitted a more accurate dating of the various parts of the text and has also shed Ught on the early configurations of two Paduan monuments as well as on the content of several private collections.

In his libro Dei Sogni, Gian Paolo Lomazzo wrote of the sculptor and medallist Leone Leoni: 'one can truly call [Leone] fortune's idol [. . . for] from a low and shameful status [he] quickly raised himself, with the help of fortune and of his virtu which, because of his merits, made friends.' Lomazzo claimed that Leone enjoyed a rank in society that 'few others achieve' and that he had 'in as much as mortal man can, made his name immortal'. In a letter to Vincenzo Borghini, Vasari observed that Leone 'has done and contin ues to do such things that, were Michelangelo to return to life and see how [Leone] lives, he would say that the art that caused him to be held to be exceptional had become another thing, because in truth these masters are no longer philosophers, but princes'.

In my new catalogue of the Louvre's drawings by and after Michelangelo, one of the entries was illustrated with the wrong image, and I am taking the present opportunity to reproduce the right drawing since it relates to a work that is very familiar to this Magazine's readers, namely Michelangelo's Manhattan Cupid (Fig.35).1

With the acquisition of Camille Pissarro's The house of the deaf woman and the belfry at Eragny (Fig.41) by the Indianapolis Muse um of Art in July 2002, one of the artist's most important but least known Neo-impressionist works entered the public domain. The canvas, familiar to generations of scholars only through black-and white reproductions, remained in a European private collection from the early 1920s until it was acquired by the Museum. Except for its brief exhibition at the Musee d'art et d'histoire in Geneva in 1918,* the landscape had not been publicly displayed since 1887.

Pablo Picasso spent five and a half years as a student studying at three different art schools. Before going to the Barcelona School of Fine Arts (1895-97) and the Real Academia de Bellas Artes de San Fernando in Madrid (1897-98), at the age of eleven he was enrolled at the Instituto da Guarda in La Corana, where he studied for three years.1 It was here that he made the academic drawing Two views of a left eye (1892-93; Fig.47) which, as I have discovered, was copied from Study of eyes (Fig.48), plate three of Cours praeparatoire, a French drawing manual published in 1864 by Bernard-Romain Julien.2