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Letter of P. da Nuvolaria, April 4, 1503, vol. ii., An inventory of Baron Castelargento's colp. 121.

lections at Agosta (1608), mentions an expendiThe Madonna of Grenada, a small picture ture of 100 crowns for “le cornici del disegno formerly ascribed to Lorenzo di Credi. (See della Madona di Lionardo con la conduta.” Crowe and Cavalcaselle's History of Painting (Atti .... per la provincia di Torino, 1878, in Italy, vol. iii. p. 407.)

vol. ii. p. 43.) The Virgin with flowing Hair, in the A Madonna by Leonardo da Vinci---said to Museum of Augsburg. Morelli says this is a be original-was bequeathed in 1696 to P. Flemish picture (Die Galerien su München und Bourdaloue by François de Rochechouart, Dresden, p. 347 [Miss Ffoulkes's translation, Marquis de Chaudenier (Chronique des Arts, vol. ii. p. 268]).

1893, p. 110). But we know how careful we The Madonna of Vaprio (ascribed); vol. ii., should be in accepting the attributions of the p. 190.

seventeenth century. The Madonna of S. Onofrio, Rome, vol. ij., Madonna with the Child, S. Catherine and a p. 200-203.

Donor, in the Church of Sant'Eufemia, at The Madonna with the Scales, original lost, Milan. This half-destroyed fresco has of late vol. i., p. 181-182. Rep., vol. ii., pl. xvii. The years been re-claimed for Leonardo (Schmarsow, Madonna of the Palazzo Sanvitali, at Parma (the Jahrbuch for 1881, vol. ii. p. 135). Virgin with S. Michael and the little S. John), The Madonna with the Lily. An engraving by seems to have something in common with this Tos. Juster represents the Virgin with the Child

and bears the following legend : “Je'sus ludens The Virgin and S. Anne, Louvre, vol. ii., in gremio sanctissimæ matris lilium tenens. pp. 121-132, 162-163. Rep., vol. ii., pl. 19. The Opus absolutissimum Leonardi Vinci pro numerous copies and imitations of this picture christianissimo Rege Francisco I. Joseph, have been catalogued by Mr. Marks in a Juster, sc.” The Virgin is seen to the waist, pamphlet devoted to the question.

seated, holding the Child upon a cushion which The Madonna della Caraffa, which belonged lies on her knees; he holds a lily. In the backto Pope Clement VII. (Vasari). Lost. Mentioned ground, to the right, a rock; to the left, a landby d'Argenville as in the Vatican in his time scape. This picture once belonged to Charles (Abrégé, vol. i. p. 148). According to M. C. Patin (Mariette, Abecedario, vol. iii. p. 167.-Brun (p. 11), the example in the Borghese is Rigollot, Catalogue, no. 96). the work of Lorenzo di Credi.

The inventory of pictures carried off by the The Madonna di Milano, Brera. A fragment, French in 1797 from the Modena Gallery menthe head turned slightly to the left ; a bust, tions “ La B. V. con il Bambino che accarezza the hair plaited. Chalcography of the Louvre, l'agnello, Leonardo da Vinci (Piccolo per l'imold number, 326. Drawing by B. Desnoyers; piedi).” Venturi, la R. Galleria Estense, p. engraving by Massol.

Holy Family in Lord Ashburton's collection, The Nativity, original lost, vol. i., p. 205. formerly in the Priory of the Escorial. Con- The Adoration of the Magi, Uffizi, vol. i., pp. sidered authentic by Rio (L'Art Chrétien, vol. 16, 40, 45, 53, 61-80, 141, 161; vol. ii. pp. iii. p. 79), but not so by Waagen (Treasures of 6, 17. Art in England, vol. ii. p. 98-99).

The ascription to Leonardo of an Adoration Madonna in Lord Battersea's collection. The of the Magi preserved at Saint-Paterne (TourVirgin is seated, turned slightly to the right; aine), is quite fantastic (Réunion des Sociétés she holds the Child on her lap; he is quite des Beaux Arts des Départements, 1897, pp. nude, and is also turned to the right ; he holds 187 et seq.). a little cross in his left hand. Background of Christ disputing with the Doctors, National jagged mountains. This picture-which I only Gallery ; ascribed to Leonardo, but in reality by know from photographs-seems to be very Luini. beautiful, and to come very near Leonardo. I [The ascription to Leonardo has long been would point out, however, that the Child's head abandoned, and the picture now bears the is too large, and that the execution generally name of Bernardino Luini.-En.] lacks modelling. In type, this Virgin resem- A half-length of Christ. Père Dan mentions bles the one in the Louvre S. Anne. This among the pictures of Leonardo preserved at picture was bought at Christie's, at the sale of Fontainebleau a Christ a mi-corps. Lépicié, a lady who had it from Lady Lansdowne. It again, says the king possessed such a picture. was at the Old Masters in 1880, at the New See also Mariette's Abecedario (vol. iii. p. 167). Gallery in 1894, and at the Burlington Club in This picture, which has nothing to do with 1898. [A similar picture, with slight changes, Leonardo, is now in the Museum at Nancy belongs to the Duke of Buccleuch, and another (engraved in the Magasin pittoresque for 1849, to the Duke of Wellington.-ED.]

p. 288, with a commentary by the Marquis de

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Chennevières). According to M. Durand- A very mediocre copy was brought to Paris Gréville it is a Flemish picture of the sixteenth in 1891, by some Russian or Hungarian dealers, century.

and offered as Leonardo's original sketch ! A Christ bearing the Cross, in the Liechten- The Last Supper was copied by the miniastein Gallery at Vienna, is attributed by turists of the sixteenth century, as we may see Waagen to Cesare da Sesto. It is a hard, dull in a Book of Hours exhibited in the Royal picture, with a surface like yellow wax.

Library of Brussels. (Livre dHeures de The Last Supper, Refectory of Santa Maria Hennessy.) delle Grazie, at Milan, vol. i., p. 177-200 ; vol. In a Notice d'un Haut-relief en bronze doré, ii., p. 109 Rep., vol. i., pl. viii.

représentant la Cène ou Cénacle, tableau de Head of Christ, Brera, Milan. Rep., vol. i., Léonard de Vinci, peint dans le réfectoire pl. ix.

du monastère des dominicains de Santa Maria The reader will understand how impossible it delle Grazie, à Milan (Odessa, 1890 ; small is to discuss all the copies made from the Lastfolio of 14 pages, with 6 photographs), M. P. Supper in the sixteenth century. Lists of the Kortschak attempts to prove that the relief in chief ones will be found in Bossi (Del Cenacolo question (which belongs to M. Peter Schoumdi Leonardo da Vinci, Milan, 1810), Guillon (Le lansky, at Kichinel) was modelled and chased Cénacle de Léonard de Vinci, Milan, 1811), and by Leonardo himself, and that the famous wallin Stendhal (Histoire de la Peinture, p. 152-154). picture was painted from it!

Heads of Apostles, Weimar Museum, vol. i., The Resurrection of Christ, Berlin Museum p. 191, note. See vol. i., pl. x.

(ascribed), vol. i., p. 53 ; cf. vol. ii., p. 182. Heads of Apostles, Strasburg Museum. Six Head of an Angel. Lost. Vasari tells us cartoons in colour after the heads in the Last that there was in the palace of the Grand Duke Supper. The head of Christ is beardless. Cosimo de' Medici a picture of an angel's head, These copies are very weak in expression, and with a raised arm, so painted and foreshortened Dehio, who has written a monograph upon from the elbow to the shoulder that it seemed them, hesitates to pronounce decisively upon to project from the picture, while the other arm their origin. He thinks, however, that they was folded upon the breast. According to might be referred to Boltraffio without much Vasari's editors, this picture was discovered temerity (Jahrbuch for 1896).

in Florence in a deplorable state, and sold Among the copies made for French amateurs, to a Russian. I may note: one made for the Cardinal Angels, full length, playing on musical d'Amboise (1510): "la Cène faicte en toille en instruments, National Gallery. These were grands personnaiges, que feu monseigneur fist acquired in 1898, from the Melzi collection, apporter de Milan” (Roman : Réunion des Milan, vol. i., p. 169 ; vol. ii., pp. 36-37. They Societis des Beaux Arts des Départements, 1883, are probably the work of Leonardo's assistant, D. 61-65). Francis l. caused a copy to be Ambrogio de Predis. One of the two, the made in tapestry (it is now in the Vatican); the one in profile, does not even show the LeonardConnétable de Montmorency another, on canvas; esque type, and the execution is entirely unlike this copy, formerly in the Château of Ecouen, is that of the central panel, the Madonna of the now in the Louvre. It has little merit. The Rocks. colour has a disagreeable red tone, and the Angel, in Lord Ashburton's collection. heads are hard and mean in expression. It Falsely ascribed to Leonardo, according to contains several variations upon Leonardo. Waagen (Treasures of Art, vol. ii. p. 99). The two side-walls have doors in them, but are S. John the Baptist, the Louvre, vol. ii., pp. otherwise quite bare, and without the happy 184, 211-212. Rep., vol. ii., pl. 26. Copies in the ornament of the original.

Ambrosiana and in the Naples Museum. Marco d'Oggiono's copy, formerly at the Cer Imitations : in the collection of Mr. W. G. tosa, Pavia, now belongs to the Royal Academy Waters, London. The right arm raised on the of Arts. It hangs in the Diploma Gallery left side of the head. New Gallery, 1893-1894 ;

Among copies unknown to Bossi I may men no. 193. In the Hewitson collection, the right tion one in the Ospedale Maggiore of Milan, arm raised on the right of the head. New painted by one Antonio da Gessate, at the Gallery, 1893-1894 ; no. 187. Miss Ffoulkes beginning of the sixteenth century (Arte e ascribes this picture to Salaino : Archivio Storia, 1890, p. 215; Archivio storico dell' storico dell'Arte, 1894, p. 255. Arte, 1890, p. 410); that of the Hermitage (no. S. Jerome in the Desert, vol. i., pp. 79, 81. 78 in the catalogue of 1891), and one at Ponte For replicas of this composition see Rigollot's Capriasca.

Catalogue, no. 6. The inventory of the pictures A copy by Cesare Magnis has been acquired preserved in the Palazzo del Giardino, at by the Brera (Archivio storico dell'Arte, 1890, Parma, in 1680, mentions a “quadro alto br. I p. 410).

on. 1, largo on. 10; ụn S. Girolamo con la mano

destra al petto, et alla sinistra vi ha un libro, di The Rape of Proserpine. Cassiano del Pozzo, Leonardo da Vinci” (Campori, Raccolta di who was at Fontainebleau in 1625, speaks of Cataloghi ed Inventarii inediti, p. 216-217). this picture as very careful, but somewhat hard

S. Sebastian, sold to the Czar for 60,000 and dry in execution (Müntz and Molinier, Le francs by M. Wolsey-Moreau, of Paris. See Château de Fontainebleau au xvii" siècle, Paris, Charles Blanc (Gazette des Beaux Arts, 1861, 1886, p. 17). The figure of Proserpine, supvol. i., p. 65-74), and Morelli (die Galerien ported by Pluto, is, he adds, the best. Were Borghese und Doria Pamfili in Rom (p. 87-88). it not for Del Pozzo's general trustworthiness, I This picture, which has nothing in common should have here suspected him of some miswith Leonardo, has been discussed in connec- take. None of the other writers upon Fontainetion with a drawing in the Vallardi collection in bleau allude to any Rape of Proserpine by the Louvre, of a naked man holding a dog under Leonardo. Neither do the old biographers, his left arm (a pasticcio on the Faun with the Vasari among them, hint at such a subject havPanther), which may well be by Pisanello. ing been treated by Da Vinci, and yet Del

S. Catherine. In 1650 the Modena Gallery Pozzo's assertion is not entirely unconfirmed. exchanged a S. Catherine by Leonardo for a De Pagave, who compiled a biography of portrait by Titian (Venturi, La R. Galleria Leonardo in the eighteenth century, speaks of a Estense, p. 243).

large drawing of a Rape of Proserpine which The S. Catherine of Louis XIV.'s collection, belonged to a member of the Melzi family, who it now hangs in the chapel at Compiègne-is caused it to be burnt by his chaplain (Amoretti, very commonplace in execution. The saint is p. 112). It seems certain, then, that a drawing seen to the waist between two angels; she dealing with the same subject as the Fontaineholds a book. It has blackened a little in bleau picture, existed once at Milan (Chronique colour, and at most is a work of Leonardo's des Arts, 1898, pp. 266, 274, 275). school.

The Fall of Phaëton. According to Scannelli The Daughters of Herodias ascribed to (1657), there was a picture of this subject Leonardo are numerous, but none have any in the Grand Duke of Tuscany's collecclaim to be considered authentic.

tion. The figures were very small, and the I may say the same of the drawings and whole work was skilful and fantastic, although pictures representing the Magdalen (Rigollot, no. merely a sketch. It showed the extraordinary 49). The French Cabinet des Estampes has capacity of the master (Il Microcosmo della two engravings dealing with the subject : the Pittura, pp. 140-141). one, signed “ Ant. Riccioni inc.", represents the The Battle of Anghiari, lost, vol. ii., pp. 12saint to the waist, full face, holding a vase in her 14, 133, 136-152. right hand and supporting the folds of her robe Vanity and Modesty, Sciarra Colonna Colwith the left (“Ex originali tabula olim in lection, Rome, now generally ascribed to ædibus Aldobrandinis "). The other is differ- Bernardino Luini. According to the catalogue, ent, and shows the saint raising the lid of her the Museum of Ajaccio (1830) has a replica of pot of ointment. There is no indication of this picture (no. 540). provenance.

The Four Seasons. Here we have to do with a purely fantastic ascription, to be found in the inventory of Fulvio Orsini (vol. xvi.) “ Quadretto

picciolo corniciato d'oro conte quattro Stagioni, MYTHOLOGICAL, ALLEGORICAL, AND d'acquarella tocca di biacca, di mano del HISTORICAL SUBJECTS

Vinci” (valued at 6 scudi). De Nolhac ; Gazette La Rotella, vol. i., pp. 45–46, 141.

des Beaux Arts, 1884, vol. i., p. 427, et seq. Medusa's Head, Uffizi, vol. i., p. 46-47. The

Leonardo has sometimes been credited with author of the Cicerone believes this to be the work

the composition reproduced by Marc Antonio of a Milanese, perhaps Lomazzo, painted from

in his Triumph after Victory. But the latest the description given by Vasari. Another head of

and most authoritative of Marc Antonio's Medusa (front face, the mouth open, serpents

biographers, M. Delaborde, claims it for Sodoma about the head, derived, undoubtedly, either

(Marc Antoine Raimondi, pp. 202-203).
from Vasari's description, or from the Uffizi
picture) is, in the same collection, ascribed to

Decorative paintings in the Castle of

Portrait of a Jeweller, Pitti Palace, seen to Bacchus, Louvre, vol. ii., pp. 184-185. Rep. the waist, holding a jewel. By Rid. Ghirlandajo, vol. ii., pl. xx.

according to the Cicerone. Leda, formerly at Fontainebleau, vol. ii., p. Portrait of Marshal G. G. Trivulzio, once so 164-169.

called, in the Dresden Gallery. This has long


been recognised as a Holbein, representing Hubert Morett, an English jeweller for the Sieur de Morette, a French gentleman who was at the English Court with Holbein.- Ev.).

Portrait of the Cavaliere Morone, in the Casa Gallerati, at Milan, engraved in Rosini, vol. iv., p. 258. Not authentic.

The inventory (1743) of the Modena Gallery mentions “un quadro contenente un ritratto d'uno vecchio in mezza figura al naturale ; opera di Leonardo da Vinci. Altro br. 1, on 3 ; largo, br. 1, on. 5." (Venturi, la R. Galleria Estense, p. 360.)

The Boy with a Tablet, exhibited at the Burlington Club in 1898 (no. 25 of the Catalogue). It was formerly in the collection at Hamilton Palace, and at the sale in 1882 was acquired by its present owner, the Earl of Carys. foot. It represents a naked boy, to the waist, holding up with a smile a double-hinged tablet sa sort of puzzle, which may well have been one of Leonardo's inventions.- ED.). See Rigollot, no. 107, also Rio's l'Art Chrétien, vol. iii., p. 182. The workmanship points rather to Luini, some of whose frescoes offer similar types of children. Engraved by Bromley (1820).

The inventory of Fulvio Orsini (1600) ascribes several male portraits to Leonardo :

“ Quadro corniciato d'oro, con un ritratto d'un giovine di casa Visconti, di mano di Leonardo da Vinci” (valued at 30 scudi).

“Quadretto corniciato d' hebano, di penna tocco di aquarella con la testa del Pico della Mirandola, di mano di Leonardo da Vinci (sc. 4).”—De Nolhac, Gazette des Beaux Arts, 1884, vol. i., p. 427, et seq. The same, La Bibliothèque de Fulvio Orsini, p. 33.

character); Madrid Gallery (no. 550, very smooth in execution and somewhat different in expression); Quimper Museum (according to M. Durand-Gréville ; Tours Museum (two copies); Bourg-en-Bresse Museum (no. 133 ; 0,60 x 0,18 m.; a more or less free copy of the head only, brought from Italy in 1753, and presented by Baron Passerat de la Chapelle) ; Mozzi collection, Florence; collection in the Villa Sommariva, on the Lake of Como ; Torlonia Collection Rome; Bridgewater Gallery, London. Copies were in the collections of Sir Abraham Hume and of the brothers Woodburn, in London. A free copy belongs to M. Martin-Leroy, of Paris. M. Mercier, of Niort, possesses an oil picture on panel, in which Mona Lisa is transformed into a Magdalen (red hair, circular nimbus, the pot of ointment, a cross resting on her left arm). Though somewhat cold in colour, it is not without charm. The lower part of the picture has been repainted in parts. The landscape includes a lake, like the original, and the same rocks. The best parts are the face and the neck, which are clear and transparent in colour. Behind the figure is a balustrade with the bases of two columns, as in the Louvre picture.

The Milanese collector Vallardi owned a cartoon in which Leonardo's original was reproduced with some variations in the background, (Disegni di Leonardo da Vinci posseduti da Giuseppe Vallardi ; Milan, 1855, p. 65, with an engraving). This cartoon was knocked down for 1000 francs at Vallardi's sale in Paris in 1861 (Gazette des Beaux Arts, 1861, vol. ix., p. 65). It is to be noted, however, that in the description of this drawing we are told of a wheel on which Mona Lisa's hands rest, while no attribute of the kind is to be discovered in the engraving published by Vallardi. (This may be a mistake on the part of the maker of the catalogue. In a drawing, presumably not in a perfect state, the framework of Mona Lisa's chair might easily be taken for a wheel. ED.]

A female portrait which offers some analogies with the Alona Lisa and also with the Bacchus (see vol. ii., p. 160) is known by various replicas (Chantilly, the Hermitage, the collection of M. Chabrières-Arlès, at Paris ; Fesch collection. The Chantilly cartoon is the most important. See vol. ii., pl. xix. It is in Italian chalk, boldly heightened with white. It differs from the Louvre picture in that the head, there slightly turned to our left, is seen almost full. The positions of the hands and arms are almost exactly the same in both. The shoulders are narrow and the arms very large, defects accentuated in the heavily painted copy in the Hermitage. The person represented in this cartoon is bold, earthly, provoking; while

Portrait of Lodovico Sforza, Il Moro, lost, vol. i., p. 92.

Portrait of Beatrice d'Este, lost, vol. i. p. 110112.

Portrait of Cecilia Gallerani, vol. i. p. 206-207. Portrait of Lucrezia Crivelli, vol. i., p. 207.

Portrait of a young Princess, Ambrosiana, vol. i., p. 208–209. Rep. vol. i., pl. xiii.

Portrait of a woman known as La Belle Ferronière, vol. i., p. xii.

Portrait of Isabella d’Este, cartoon, Louvre, vol. ii., p. 110-112. Rep., vol. ii., pl. 17. The so-called portrait of Isabella d'Este in the Tribuna of the Uffizi is ascribed by Frizzoni to a Veronese master (Archivio storico dell Arte, 1891, pp. 164-169).

Portrait of Mona Lisa, called La Joconde, Louvre, vol. ii., p. 157-164. Rep., vol. ii., pl. 22.

Copies of the Jiona Lisa are scarcely less numerous than those of the Lust Supper. I may name the following :- Stuttgart Museum (no. 239, very mediocre); Munich Gallery (no. 1043, with dull carnations, which deprive it of

La Gioconda seems withdrawn into an atmo- Female Portrait, formerly in the Castelbarco sphere of her own, and unapproachable. The collection. The ascription to Leonardo has Hermitage picture has grey drapery and a now been superseded by that to Bernardino de' landscape background ; at each extremity of Conti, suggested by Morelli. (Italian Painters, the balustrade there is a portion of a column. vol. i. Borghese and Doria-Pamfili Galleries in The face is sweet and smiling, reminding us Rome); Miss Ffoulkes's translation, p. 193. of Luini. The arms, on the other hand, (This picture now belongs to Mrs. Alfred are much too large, like those of the Morrison. It was at the Burlington Club Chantilly cartoon. The example belonging Exhibition in 1898.—ED.] to M. Chabrières-Arlès (who bought it in 1890, So-called portrait of Joanna of Aragon, Doria at the Piot sale, for 800 francs) is thus Pamfili Palace, Rome, falsely ascribed to described in the sale catalogue : “no. 567. Leonardo (see Morelli, Italian Painters, vol. i. Portrait of Catharina di San Celso. This p. 311 ; Miss Ffoulkes's tr.). Milanese lady, famous for her beauty, is repre Female portrait, Czartorisky Collection, sented nude to the waist, her elbow on the arm Cracow. This panel (o m. 56 cm. x o m. 41 cm.) of a chair, her body turned three-quarters to contains the portrait of a young woman, seen to our left, her face looking straight out of the the waist, and holding in her arms a weasel or picture. Her fair hair, slightly waved, is ferret, or some other animal of the same family. plaited and tied on the top of her head. A Her look is frank and lively, but her features brown drapery passes over her right arm and have a somewhat haggard cast. She is turned goes round her waist. The hands, crossed one slightly to the right. Her fantastic head-dress over the other, are exactly similar to those of is knotted beneath the chin and bound by a the Mona Lisa in pose.” Piot ascribed both his ferronière, whence the name by which the picture and the one at the Hermitage to Luini; picture is generally known. A sort of white but there can be no doubt that they really veil falls over her forehead. A necklace hangs proceed from the immediate entourage of down over her bosom, which the low-cut bodice Leonardo.

leaves exposed. Her somewhat fantastic dress [Another version of the Chantilly and has large slashed sleeves. The right hand rests Hermitage pictures belongs to Lord Spencer, upon the little animal. Herr Müller-Walde does and was exhibited at the Burlington Club in not hesitate to pronounce this portrait authen1898. Yet another, with a different back. tic. I have some difficulty in accepting his ground, belongs to Mr. Muir-Mackenzie, Q.C., of opinion. The insignificance of the expression London.-ED.)

and meanness of the execution are most unAnonymous portrait of a young woman Leonardesque. The picture is reproduced in (Rigollot, no. 58). The head droops. Her hair Graphischen Künste for 1892 (part v.), and in is partly arranged in a plait, which surrounds Rosenberg's Leonardo da Vinci, p. 44. the head like a diadem ; the rest falls in waves A mysterious female portrait which formerly over her neck (Couché, Galerie du Palais belonged to Morelli, who left it to Madame Royal, vol. i. pl. 1). This portrait is now in Minghetti, has now found a home with Mr. the Bridgewater Gallery. It is generally ascribed Davis, an American collector. I only know it to Luini.

from a photograph. It would be rash for me Portrait of a woman, Augsburg Gallery to pronounce an opinion without having seen (Rigollot, no. 65), facing the spectator. The the original ; but, upon such connoisseurs as best judges now agree to withdraw this portrait have seen it, it has produced the effect of a from the list of Leonardo's works (Woermann, modern forgery, or pasticcio. Geschichte der Malerei, vol. ii. p. 551). To me Leonardo painted the portrait of a laughing it seems more like M. A. da Caravaggio than woman. This portrait was copied by Fra Da Vinci.

Girolamo Monsignori, whose copy was in the Laura celebrated by Petrarch, “drawn by Milanese "Zecca" in 1560 (Vasari, vol.vi.,p. 491). Roger after the picture by Leonardo da Vinci Portrait of a young woman known as in the Cabinet of the Citizen Masson, engraved Colombina, Hermitage; formerly in the Palais by Massot.” A handsome young woman, Royal collection. A young woman, seated, nude, seen front face to below the bust, no nude to the knees, holding in her right hand a attributes, Leonardesque in type. I do not campanula, or some such flower, on which her know what has become of this picture.

eyes are fixed. Her left hand lies on her knees, La Monaca, Pitti Palace (Rigollot, no. 66). and holds a bouquet of the same flowers. AsThere seems now to be a general agreement cribed to Solario by Crowe and Cavalcaselle that this portrait is in the manner of Ridolfo and Clément de Ris; to Luini by Bruiningk and Ghirlandajo. [Mr. Walter Armstrong ascribes it Somoff, who give a photogravure of it in their to Giuliano Bugiardini, as also does Mr. Catalogue de la Galerie des Tableaux (S. PetersBerenson.--ED.)

burg, 1891).

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