THE Man in armour in Glasgow Art Gallery and Museum (Fig.l) was cleaned and restored shortly before being included in the exhibition, Rembrandt: the Master and his Workshop, which is currently on show in the National Gallery. In order to undertake the conservation work, it was necessary to investigate the status of the additions to the canvas on all four sides, and paint samples were taken from the picture by Ashok Roy and analysed at the National Gallery. In our view the findings of this examination make it likely that the Glasgow picture can, as some previous scholars have argued, be identified with the Alexander the Great commissioned from Rembrandt by the Sicilian col- lector Antonio Ruffo of Messina.

commissioned from Rembrandt by the Sicilian col- lector Antonio Ruffo of Messina.

'I'HE location of the scene portrayed in Caspar David Friedrich's sepia drawing, Window with a view of a park in the State Hermitage Museum, St Petersburg (Fig.18), has always been a puzzle, as has the drawing's date. It shows several large trees, among them a couple of tall poplars, crowding the view seen through the closed window. To the left is glimpsed a two-storied building, while a smaller house with a high tiled roof appears on the right.

of a park in the State Hermitage Museum, St Petersburg (Fig.18), has always been a puzzle, as has the drawing's date. It shows several large trees, among them a couple of tall poplars, crowding the view seen through the closed window. To the left is glimpsed a two-storied building, while a smaller house with a high tiled roof appears on the right.

IN his account of Alonso Sánchez Coello's career, Francisco Pacheco describes the extraordinary prestige and wealth which the painter enjoyed thanks to the eminence and power of his clients. As well as Philip II, to whom he was portrait painter, and members of the royal family, among the Spanish clients listed by Pacheco are high-ranking members of the church, the nobility and the diplomatic service. Pacheco also informs us of patrons outside Spain: 'He was no less honoured by the great princes of the world, even by the pontiffs Gregory XIII and Sixtus V, the grand dukes of Florence and of Savoy and Cardinal Alessandro Farnese, brother of the Duke of Parma.' Virtually nothing is known about his work for these 'great princes of the world' apart from two small portraits of the Infantas which he sent to Carlo Emmanuele, Duke of Savoy, in 1584, one of them a likeness of Catalina Michaela, the duke's future bride.

IN his life of Giovan-Antonio Burrini, Giampietro Zanotti states that the artist visited Tlurin in 1688 at the invitation of Filiberto, Prince of Carignano, taking with him as assistant the quadratura painter l'ommaso Aldrovandini. He goes on to list the works that they executed during their stay: a frescoed chapel in the church of the Scalzi, commissioned by the prince's physician; the decoration of several rooms in the Casa Bagnaschi; and one ceiling, painted by Burrini on his own, in the palace of Count Graveri.

painter l'ommaso Aldrovandini. He goes on to list the works that they executed during their stay: a frescoed chapel in the church of the Scalzi, commissioned by the prince's physician; the decoration of several rooms in the Casa Bagnaschi; and one ceiling, painted by Burrini on his own, in the palace of Count Graveri.