CARLO CESARE MALVASIA, the learned seventeenth- century biographer of the Bolognese artists, singled out Guercino, Guido Reni, Domenichino and Albani as the painters 'who came to fill the breach of the four Carracci dead'. In designating those four artists he echoed the senti- ments of both Scaramuccia and Scannelli, Scannelli hav- ing referred to the same quartet as 'the four Evangelists of modern painting'. Although the 'Evangelists' shared attitudes derived from the Carracci, they differed greatly in the ways that they made and sold their works, so much so that, on the occasion of the Guercino symposium held in Washington in 1992, I decided to discuss Guercino's workshop procedures in relation to the practices of the other three artists. A problem arises with Domenichino, however, who basically worked for a separate clientele in Rome and Naples rather than in Bologna; and he was first and foremost a frescoist, which entailed different studio procedures. This study therefore refers to Domenichino only occasionally and focuses instead on the attitudes and practices of Guercino, Reni, and Albani.

THE Pierpont Morgan Library, New York, has recently been promised a drawing (Fig. 15) of St Joseph and the Virgin looking at the Child, who is cradled over Mary's lap in a cloth held by two hoveringputti. Divine light radi- ates from the child, illuminating areas such as the Virgin's face and left shoulder, the edges of the cloth and the angels, while other parts of the group are cast in soft shadow.

IN a Shorter Notice published in this Magazine in 1925, Raymond Henniker-Heaton, the then Director of the Worcester Art Museum, reported the Museum's acquisition of three small paintings of Ovidian subjects by Giovanni Antonio Bazzi, called Sodoma: a Fall of Phaeton (Metamorphoses, I, 750-79, II, 1-400), an Apollo and Daphne (Metamorphoses, I, 452-568), and a less easily identifiable subject with three figures: Pan, a sleeping nymph and a female Cyclops playihg a pipe (Figs.24, 21 and 22). The first two apparently came from Henniker-Heaton's own collec-tion,2 and had probably been purchased in London from the Sackville Gallery, whose label appears on the back of the frames. They may possibly have been among a number of 'Scenes from ancient mythology', mentioned by R.H. Hobart-Cust in his monograph on Sodoma of 1906 as being in the collection of Viscount Tauzia in Paris,3 but this cannot be securely demonstrated.

, I, 452-568), and a less easily identifiable subject with three figures: Pan, a sleeping nymph and a female Cyclops playihg a pipe (Figs.24, 21 and 22). The first two apparently came from Henniker-Heaton's own collec-tion,2 and had probably been purchased in London from the Sackville Gallery, whose label appears on the back of the frames. They may possibly have been among a number of 'Scenes from ancient mythology', mentioned by R.H. Hobart-Cust in his monograph on Sodoma of 1906 as being in the collection of Viscount Tauzia in Paris,3 but this cannot be securely demonstrated.

C.R. DODWELL, who died on 22nd April 1994, was one of the finest historians of medieval art of his generation, and the driving force behind the emergence of Manchester University as a lead- ing centre for the study of art history in Britain. His numerous publications on early medieval art - all of them distinguished by an unrivalled familiarity with medieval written sources - con- stitute the most impressive body of writing on the subject by a British scholar.