SIR, In her review of the recent Amico Aspertini exhibition at the Pinacoteca Nazionale in Bologna (January issue, pp.59–61), Marzia Faietti rightly noted that the ‘attribution of the Disputa to Aspertini (no.12; private collection, Bologna) should be rejected’. As it transpires, every single one of the assembly of figures in this work is copied from Pieter Bruegel the Elder’s Christ and the woman taken in adultery, now in the Courtauld Gallery, London. Its creator has omitted Christ and the adultress, as well as the crowd beyond the main action, and has shown the figures half-length as opposed to full, but his sole addition has been to furnish the protagonist, now seated, with an open book resting on a lectern. Alas for any diehard supporters of the attribution to Aspertini, the panel by Bruegel is signed and dated 1565; Aspertini died in 1552.