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The article presents a study of two drawings by Francesco Vanni. This paper focuses on the anonymous drawings on display at the Fitzwilliam Museum specifically two of Francesco Vanni's. They include a sketch for the "Miracle of St. Hyacinth," a large altar-piece painted for the church of St. Spirito in Sienna during 1600. A bozzetto that completes the composition which was thought to be lost is now found at the Fitzwilliam. Another figure featured here is a small sketch of "The Adoration of the Magi," which may have been cut from a larger sheet.

The article discusses two small bronze figures from the studio of Bernini. This paper focuses on the bronze statuette of St. Agnes on the altar of the chapel in the Palazzo Doria. Another work discussed by the author is a pair of figures in representation of faith and religion. The artworks are examined and concluded to be from the studio of Gian Lorenzo Bernini. They belong to the few independent small bronzes produced directly from a model that Bernini made. The St. Agnes statue was not published but its high quality is evident while the statue bearing faith and religion was published by Planiscig in 1916 and was sold in Vienna in 1923.

The article discusses the drawings of Daniele da Volterra at the Orsini Chapel. The commission to decorate the Orsini Chapel in Trinità dei Monti was the first commission that da Volterra won for his abilities and not part of a consignment from Perino del Vaga who was his teacher. Perino was the most influential artist at this time commanding and controlling all practical influence with a sizable workshop. He exercised authority and monopolized all commissions which he inherited from his mentor, Raphael, himself a controlling figure of official projects. Daniele was a known rival to Perino and every painting he produced proclaimed his difference to the styles of Perino. The Orsini Chapel decoration is the main issue in Daniele's career and described in this paper.

The article reports on the donation of four eighteenth-century Indian miniature paintings by businessman and art collector George Bickford to the Krannert Art Museum at the University of Illinois in Chicago. The miniature paintings range in size from 8 by 6 in. to 10 by 7 in and are painted in polychrome on paper and came from Rajashthan and the Punjab Hills in northwest India. Moreover, the subject-matter is derived from Hindu writings and is concerned with legends of Krishna. Furthermore, the images were represented on a flat plane, resulting in a strong, two-dimensional design.

The article focuses on a newly discovered drawings by John Constable, English Romantic painter, in a Louvre sketchbook in France. The discovery was done in a small leatherbound sketchbook which is kept with the Delacroix drawings in the Cabinet de Dessins. The drawing was a magnificiently washed seascape which was recognized by Edward Croft Murray as being in all probability the work of Constable. The sketchbook is bound in brown leather with a metal clasp with a cover that measures 89 by 115 millimeters (mm). It contains 53 leaves of white wove paper which measures 83 by 115 mm.

The article focuses on the drawings of Elgin Marbles painted by B. R. Haydon. According to the author, Haydon's drawings of the Elgin Marbles were used as a means of studying their form and examining their principles. He reveals that Haydon's session of intensive drawings began in January, 1811 and had his final session in January 1813. He declares that Haydon was known as the first draughtsman of the Elgin Marbles because he did the extraordinarily and highly finished drawings on blue paper, showed a distinct technical advance over early studies, and showed special qualities of vigor and animation which are lacking in similar copies by his contemporaries. Techniques used by Haydon in executing the drawings are also discussed.

The article discusses the related problems found with Bernini's two unpublished drawings. The two biographies of Gianlorenzo Bernini possess chronology to the moral and artistic character of the Baroque master. This paper focuses on the degree of authenticity which Filippo Baldunacci and Domenico Bernini have written in their biographies of Gianlorenzo Bernini. They both share emphasis on the precocious talents and of the orthodoxy of views and theories Bernini may have, as well as his artistic education, leanings, and aesthetic convictions.

The article investigates the meaning and historical surroundings of the Barcaccia. The fountain of Barcaccia was produced in Rome between the year 1625-35 and it signifies a spirit of dynamics integration of independent elements. It is typical of the full Baroque style and was the first Roman fountain to which the identity of the author is still not fully known. This paper provides a definitive attribution on the style and documentary evidence that may point to the fountain's origin. As the source of Rome's favorite water, the Acqua Vergine, Barcaccia is an ancient aqueduct that has undergone many restorations.

The article discusses the identity and style of Francisco Goya. This paper focuses on the Romantic image and genius of Goya. His unquestioned originality in his artworks goes on in some publications presenting a majority of nonfictional accounts. The artist's impressions on his portraits are stressed by statements from Carderera and Brunet. He is described to have the ease of perfect mastery in the medium as conveyed in the letters of Moratin, a neo-classical Spanish dramatist. Goya's life, ardent temperament, productivity and facility are discussed further.

The author reflects on the scientism and the art of picture or painting cleaning. He cites the discussion relative to the topic that was published in the journal's previous articles, particularly the report from the National Gallery in October. He comments that the report at first glance shows to be refutations of the alleged misleading statement in its original paper, and had an oversimplification of what is known about the two soluble resins (the dragon blood and gamboge).

The article comments on the papers, "Dark Varnishes: Variations on a Theme From Pliny," by E. H. Gombrich and "Dark Varnishes, Tinted Varnishes and Patina," by Otto Kurz in the February 1962 issue. Four main points of consideration are proposed, including the view that knowledge of old masters' techniques are essential for the art historian; the idea that sources on old master techniques should be examined on a broad basis; and that the study of treaties on painting methods is still new.

The article comments on the papers, "Dark Varnishes: Variations on a Theme From Pliny," by E. H. Gombrich and "Dark Varnishes, Tinted Varnishes and Patina," by Otto Kurz in the February 1962 issue. It is pointed out that sensible reasons can exist for the alternative explanations that the author proposes with regards to the controversy on the cleaning of paintings.

The article comments on the papers, "Dark Varnishes: Variations on a Theme From Pliny," by E. H. Gombrich and "Dark Varnishes, Tinted Varnishes and Patina," by Otto Kurz in the February 1962 issue. It is pointed out that some of the literary quotations presented by Gombrich and Kurz have been misunderstood because of the lack of technical knowledge. Most of the issues discussed concern the materials or techniques of painting.

The article highlights several papers about European Art. "The Early Haarlem School of Painting," by James E. Snyder, published in "The Art Bulletin," is a useful and critical summary of all known facts and theories regarding early Dutch painting. "The Drawings of Pieter Bruegel the Elder in the Museum Boymans and Some Problems of Attribution," by F. Grossmann, published in "Bull. Mus. Boymans 5," goes far beyond its title and is a very thorough investigation of many problems connected with Bruegel. "Some facts about Rembrandt's Claudius Civilis," by Carl Nordenfalk forms the backbone of a special issue which "Konthistorisk Tidskrift" has dedicated to Rembrandt's great painting in the Stockholm Museum.

The author discusses the discovery of a folio manuscript volume which contains English textile swatches of the mid-eighteenth century in the Library of the Union Centrale des Arts Décoratifs in Paris. It is believed that the folio substantiates the pre-eminence of early English Textiles, where its high quality has been recognized since the Manchester exhibition prepared by Peter Floud of Victoria and Albert Museum. An overview of the London textile printers' paper impression described in the catalog is offered.

The article discusses the concept of Federico Barocci's art work called "Noli me tangere." An overview, the painting were originally purchased in Italy about two generations ago. As described, the painting were in pencil drawing, more or less square and at almost equal size and done on thick yellowish paper. It was revealed, after further investigation on the painting, that it was obvious the same hand did that the drawings but that they belong together and are characteristic of Barocci which shows his firm clear outlines, the strong contrasts between light and shade modeling the form and bringing out the detail.

The article focuses on the three paintings of artist Jacopo Carucci Pontormo such as "Drawing of the Florentine Painters" and the other two sheets features small boys, drawn in red chalk on rough paper which are exhibited at the National Gallery of Scotland in Edinburgh, Scotland. Moreover, the two figures are obviously derived from the groups of putti which occur on the pedestals between the Sibyls and Prophets of Michelangelo's Sistine Ceiling wherein the characteristic position of the arms and the pose of the legs make the provenance of the inspiration unmistakable. Further, a composition of a combination of two figures does not occur in any of Pontormo's surviving works as well as his drawings.

The article describes the Barbadori S. Felicita Chapel by Filippo Brunelleschi in Florence, Italy. Paolo Fontana's paper published in 1932 laid the foundations for a reconsideration of the chapel as an early work of the artist and led to the excavations by R. Niccoli. The church of S. Felicita was a Gothic building of the late fourteenth century. The Barbadori Chapel was established into the south-west corner of the church. Its two facades toward the interior of the church opened through arches supported on Ionic half-columns. A pilaster corner separated between the Ionic half-columns in the interior.

The article provides information on the paintings of Peter Paul Rubens that are included in the exhibition catalogue and were exhibited in Antwerp, Belgium in 1956. The "Petit Palais Birth of the Virgin" was placed nearer 1612 than 1617 for the manner the pen is used seemed not very far from the painting "Chatsworth Studies for a Last Supper" which can be placed in the Italian era. "Design for a Cherub Relief with a foliated scroll" used black chalk with a brown wash, accented with pen and bistre ink while "Rest on the Flight into Egypt" showed bistre wash on first sketch in black chalk and retouched with white gouache. "Hercules in the Garden of the Hesperides showed fluidity in painting landscape and is made as an oil-sketch on paper.

The article features several artworks of French caricaturist and painter Honoré Daumier. Daumier's painting "Les Amateurs de Tableaux," is a tiny sketch in charcoal, slightly heightened with watercolor to accentuate its light and shade while his drawing "Man carrying a Bucket," is on a double sided light bluish papers with sketches. The painting "Le Pardon," shows the original interest of Daumier regarding the small canvass and his wash drawing "La Lecture," is the most advanced of a large group of drawings that has the same subject: men and reading.

The article reports on the documentation about the plan of King Philip V to transform the Buen Retiro and to redecorate a part of the Madrid Alcázar in Spain. René Carlier was substituted for architect Robert de Cotte because the de Cotte was unable to travel to Spain. It discusses the forward documents and drawings relating to French art wherein the schemes for the redecoration of the Alcázar, with the designs for paneling and fire places, form a whole chapter in the development of French art. It also features the papers of Robert de Cotte with the information supplied by the Spanish archives. The "Carlier plan" is also described.

The article focuses on the issues concerning the history of the crown of the Medici Grand Dukes of Tuscany, Italy. Designer C. E. Bunt has published a pen and wash drawing of the crown in 1941 in which he assumed that he must have made the crown and it is his original design. According to the author, the drawing does represent a crown in the style of the second half of the 16th century, however, the paper on which the drawing is executed has an 18th century water-mark. Meanwhile, the author also mentions about the history account of the crown given by Canon Domenico Moreni.

The article offers information on the works of French artist Antonine Watteau, and Gilles-Marie Oppenort in the Cronstedt Collection, based on the diary of artist Carl Gustaf Tessin. These include the set of fountains in red chalk, by Oppenort which came from the album of Watteau. It is claimed that the total numbers of the drawings with the fountains is approximately 40, wherein 16 are originals, and the rest are considered as contre-épreuves. It is noted that the size of the papers used in the drawings are varied, and most of those drawings are in upright format about 30 by 20 cm.

The article cites documents that depict the association of several artists with Santa Maria della Scala in Rome, Italy. Church archives show that between 1600 and 1626, papers record the presence and participation of several painters and patrons in parish affairs. Moreover, an account book from the Scala shows that during 1604 and 1605, the chapel of Cesare Pandini was being constructed under the supervision of architect Girolamo Rainaldi. Meanwhile, Christoforo Roncalli was commissioned to paint the chapel's altarpiece "Madonna Giving Her Cloak to St Simon Stock in the Presence of Elijah."

The article discusses the sketches by Leonardo da Vinci of Neptune at the Windsor Castle in England. This paper investigates the allusions to the possible classical prototype of Neptune created by Leonardo. The drawing is reported to be his present to his friend Antonio Segni. It is found at the Accademia Carrara in Bergamo and was earlier attributed to be Michaelangelo's drawing. The drawings are presented in this article and compared of the action by Neptune. The Windsor sketch reveals a different action with that of the epigram to Virgil, and the Leda which are the only classical mythology illustrations of Leonardo.

The article focuses on the original drawing of Buonarroti Michelangelo's "Madonna del Silenzio" in Great Britain. The great importance which the drawing must have assumed in the sixteenth century is convincingly demonstrated by the number of old painted copies. The drawing is said to be in extremely famous in the nineteenth century. The piece of paper attached to the mount of the drawing contains memoranda on the art collection of some artists. In various parts of the drawing there are curious indented lines. The lines follow the drawn outline that affect similar to the produced lines indented by painted on panels.

The article reports on the painting of William Hogarth, which features the Gaols enquiry between 1728 to 1729 including "Bambridge before a Committee of the House of Commons." Hogarth's original sketch, a monochrome in oil on paper, is now in the Fitzwilliam Museum, which took a highly critical view of Hogarth's abilities as a painter. The picture shows members of committee seated at a table and a prisoner in rags is giving evidence. However, the finished version of the painting is insipid despite an attempt to make the picture more dramatic by transforming an ordinary apartment into a gloomy dungeon.

The article discusses the commission of the alterpiece painting "Beato Lorenzo Giustiniani with Sts John the Baptist, Louis of Toulouse, Francis, Bernardino of Siena and Two Canons," by Giovanni Antonio da Pordenone for the church of the Madonna dell'Orto in Venice, Italy. A paper published by Michael Douglas-Scott established that Federico Renier was involved in the commission of the art work. However, despite the discovered agreement between Renier and canons, Douglas-Scott was asserted of reverting to an older hypothesis about the work. Considering the discovery of the first agreement of 1528 and first edition of Giorgio Vasari's "Lives," together with the normal procedure for commissioning altarpieces. It was implied that Pordenone painted the alterpiece between 1528 and 1530.

The article reviews several exhibitions for 2005 including Lucian Freud's works at Museo Correro in Venice until October 30 2005, "Gingko pictures" at British Pavilion, Venice until November 6, 2005, and "No Limits, Just Edges: Jackson Pollock Paintings on Paper" at the Peggy Guggenheim Collection until September 18, 2005.

The article discusses the acquisition of a collection of late nineteenth-century French prints by Paul Gauguin and the Nabis at the Van Gogh Museum in Amsterdam, the Netherlands. The core of the acquisition is formed by the Volpini Suite, a series of zincographs on bright yellow paper created by Gauguin in 1889. The prints represent Gauguin's first serious effort in the graphic arts. The prints were based on paintings by Brittany, Arles and Martinique. Other prints acquired by the museum were made by other Nabis artists including Pierre Bonnard, Edouard Vuillard and James Pitcairn Knowles.

The article discusses the artistic parentage of Palma Giovane in Venice, Italy. This paper presents evidence which suggested that it was Giovane's elder brother named Marcio Giovane who was originally designated to be the inheritor of the family firm. As indicated, it is evident that Bonifacio de' Pitati who is called Veronese and his wife took a great interest in Marcio. It may be that he shared the first name of de' Pitati's late father. According to Carlo Ridolfi, Giovane was train to draw by his father and there are a few scraps of proof which manifested to their artistic relationship.

The article discusses the anchona by Altichiero da Zevio, a Veronese painter for Margarita Lupi in Italy. There is less commissions of which Altichiero is to have undertaken due to absence of panel signed or dated by him. This paper aimed to publish in documentary evidence on the context and patronage of a lost domestic painting by the artist that has not survived. It was Lupi who is the recipient of the said art work. As claimed, the panel painting created part of her trousseau on the celebration of her first marriage with Giacomo da Bragazo and was paid for in 1384. In the fourteenth century, it is stated that prices for paintings are hard to contextualize.

Information about several papers discussed at the Erwin Panofsky Symposium of the University of Hamburg in Germany is presented. It discusses the recent findings about the emigration and exile of German art historians from Nazi Germany in 1933 onwards. It also highlights the reconstruction of the early Panofsky and his years in Hamburg.

Information about several papers discussed at the Second International Congress of the Film on Art by the Fédération Internationale du Film sur l' Art in Brussels, Belgium is presented. Several films made worldwide are shown in the event that provoke some lively discussion and a few illuminating comments on general principles, although no practical results were achieved. The Congress made clear that the finest films on art like "Le Monde de Paul Delvaux" from Belgium were the spectator is invited to participate in a fabulous but consistent world of the imagination, are the fruit of an intimate collaboration between camera and work of art.

The article focuses on a drawing found in a private collection in Rome, Italy and attributed to Francesco Mochi. It relates that the drawing depicts an angel supporting a candle and drawn in black ink in a white paper measuring 37 by 23.5 centimeters. Moreover, it relates that the attribution of the drawing to Mochi would represent evidence on the graphic activity of the sculptor that occasionally worked as a painter. Furthermore, it indicates that the drawing, which is inferred to have been used as a representation for a three-dimensional work, reflects the drapery style in Mochi's sculpture.

A calendar of special events on art exhibitions in Great Britain in 1986-1987 is presented which includes "Pursuit of Perfection," by C. R. Mackintosh, the works on paper from the Cone collection by Henri Matisse, and the sculptures of Bill Woodrow.

The article discusses a letter which discusses painter Raphael Sanzio's villa-elevation in the Ashmolean Museum, for the exhibition "Raffaello Architetto". The said letter is in the Archivio di Stato in Modena, and it was addressed to Cardinal Ippokuti I d'Este in Ferrara, Italy by Bishop of Adria Beltrando Costabili on June 7, 1516. The letter has understandably been overlooked because parts of it are illegible. It is one of the most defective of the many damaged, but miraculously surviving papers in the Archivio Segreto Estense.

The article focuses on the contents of the Loseley Manuscripts, one of the remaining unstudied sources for the Tudor painters which are now in the Folger Shakespeare Library in Washington, D.C. The Loseley Manuscripts are composed of papers of Sir William Cawarden as Master of the Revels to Henry VIII, Edward VI, Mary I and Elizabeth I, covering the period 1543 to 1559. Feuillerat transliterated almost exclusively from two ledgers in which the Clerk of the Revels had drawn up fair copies of all the accounts for the period 1550 to 1559. However, he omitted to print the accounts relating to the erection of a temporary banqueting house in Hyde Park in 1551. Meanwhile, the spelling of the artists' names is given.

The article reports that Stephen Jarvis is soliciting readers' knowledge about the whereabouts of the papers relating to artist and illustrator Robert Seymour. The papers were sold at Sotheby's London last June 2, 1919.

Information about several papers discussed at a symposium on the link between British and Continental art from 1680 to 1880 is presented. Topics include the aspects of English influence on the Continent, the Scottish artists in Rome during the eighteenth century, and the role of British taste in delaying the development of a national landscape painting school. The symposium featured several art historians including Adrian von Buttlar, Christoph Heilman, and Keith Andrews.

The article reflects on the paper which outlines the restructuring of the Victoria and Albert Museum in London, England that was approved by its trustees. He stresses that it seems premature to comment on the version of this paper since it has not been made publicly available. He asserts that the trustees appear to be not consulted about the details of the redundancy plans. He emphasizes the purpose of the proposed restructuring of the museum.

The article reports on the acquisition of David Bomberg's three watercolor paintings and drawings by the Fitzwilliam Museum in Cambridge, Massachusetts in 1972. The watercolors were displayed at the "David Bomberg, Drawings, Watercolours and Prints 1912-25" exhibition from June-July 1971. One is the "Abstract Composition" in pencil and watercolor on paper, executed by the artist between 1913 and 1914. Another is "The Cart," which is drawn on both sides of a sheet of tissue paper, in Indian ink applied with pen and brush. The third piece is "A view of Boulogne" in pencil, watercolor and body-color on paper, which was bought from the University Purchase Fund and the Fairhaven Fund.

The article discusses the attribution of a drawing in the Ashmolean to Leonardo da Vinci. A small piece of paper with a sketched head cut from a larger sheet is the main focus of inquiry in this paper. The author looks into the attribution of the drawings to Francesco Melzi in the Ashmolean Museum at Oxford. The collector and the others like him in the sixteenth century were of common practice of cutting manuscripts and papers both to preserve and destroy. Francesco Melzi's heirs were reported to have scattered scraps of paper collection around Windsor, Milan, and Venice.

The article reviews the exhibition "Guercino: Mind to Paper," at the Courtauld Institute of Art Gallery in London, England through May 13, 2007.

The article reviews the art exhibition titled "Robert Ryman: works on paper 1957-1964," at the Peter Blum in New York City until September 25, 2004.

The article stressed on the importance of the stained-glass window in Gouda, Netherlands. The window bears the portrait of Emperor Charles V kneeling next to a group of soldiers and the disciples of Christ. It is stated that the project was the product of the patrons who wished to show their gratitude to the notable people in the history. However, the unusual formulation of the inscription on the paper attached in the drawing design of the window suggests that the circumstances of the commission were unordinary and it adds beauty to the art work. The window is dedicated to the emperor because of his support to the city government.

The article discusses collection of postage stamps. It mentions that postage stamps have been collected since the nineteenth century and are suited for collectors who do not wish to be known for their wealth. It describes stamps as having no practical value, unlike gold or antique furniture. Stamps, however, are made of thin paper and are delicate to handle which raises the value of undamaged old stamps. It is also mentioned that age in stamps does not necessarily raise their value. The article also provides a description of British stamps that have increased in value over the years.

The article focuses on the five documents found among the papers of Florentine notary, Niccolò Gentiluzzi, which pertains to Italian painter Tommaso di Cristoforo Fini, more popularly known as Masolino da Panicale. The documents did not provide any information about the painter's works but more on his personal life The first two records, dated September 7 and 22, 1422, talks about Masolino's residence. The third document, dated March 23, 1424, is an agreement seeking for arbitrators while the fourth document, dated September 1, 1425, indicates that Masolino gave power of attorney to a banker named Antonio di Piero Benizi. The fifth record, dated May 18, 1428 in Florence, Italy, explain the presence of Masolino's father in earlier documents.

The article discusses Joshua Cristall's work found in Victoria and Albert Museum which organized an exhibition that includes 300 of his 1000 recorded works in London, England. It is stated that Cristall chose the line of development in idealized landscapes and his life was intimately bound with the dramatic early years of the Society of Painters in Watercolours. His training and interests were literary. The paper also discusses Cristall's two influences to produce classical scenes set firmly into the English landscape and with varying emphases, his finished compositions.

The article discusses the unpublished document concerning a commission for Pierro della Francesca in Arezzo, Italy. The document was found among the papers of the suppressed Aretine Confraternities in the Archivio di Stato in Florence. According to the author, the document records a contract made on July 12, 1464 that commissions della Francesca to create a processional banner or gonfalone for the Confraternity of Trinità and he adds that della Francesca was instructed to paint the figure of the Holy Trinity on the banner. Furthermore, the contents of the contract is also provided.