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The article focuses on John Frederick Lewis's copies after Italian, Flemish, Dutch and French old masters bought by Royal Scottish Academy II, Glasgow, Scotland. It states that a published catalogue of the collection compiled in 1853 by Lewis and the Academy's treasurer, William Borthwick Johnstone announced its scope: "A collection of Drawings from Pictures of the Italian, Spanish, Flemish, Dutch and French Schools executed by J.F. Lewis Esq". It presents Lewis' copies after Italian painter Titian including "The assumption of the Virgin" and "Flora" and his group of copies after Dutch paintings including Rembrandt's "Supper at Emmaus" and Ter Borch's "The Concert". Lewis' copies after the French artists including Watteau's "Le Lorgneur" and Borgianni's "Holy family" is also mentioned.

The article focuses on the strong representation of Spanish painting in the collection of 63 watercolor and gouache copies of old-master paintings by John Frederick Lewis in the Royal Scottish Academy. It explains some of the events that led to the decision taken by the Royal Scottish Academy to acquire Lewis' group of works. This acquisition in 1853 emphasized national aspirations for Scottish painting and for art education in Scotland. Some of the paintings included in the collection, such as the "Las meninas," "Posada de Trinidad," and "The jealous husband," are discussed.

The article reports on the transfer of the Barlow Collection of Chinese Ceramics, Bronzes and Jades to the museum at the University of Sussex in Brighton, England. The collection has been considered as one of the most spectacular private collections of Chinese objects. It will remain intact and will be displayed permanently in a specially-designed gallery in the Library building of the university. Before its transfer, the collection has been at the Gulbenkian Museum of Oriental Art in Durham, England.

Several letters to the editor are presented in response to articles in previous issues including a review article by Marco Rosci of the "Tanzio da Varallo" exhibition at Turin in the January 1967 issue, and an article on Fuseli's Milton Gallery in the December 1959 issue.