Letter of P. da Nuvolaria, April 4, 1503, vol. ii.,

p. 121.

The Madonna of Grenada, a small picture formerly ascribed to Lorenzo di Credi. (See Crowe and Cavalcaselle's History of Painting in Italy, vol. iii. p. 407.)

The Virgin with flowing Hair, in the Museum of Augsburg. Morelli says this is a Flemish picture (Die Galerien zu München und Dresden, p. 347 [Miss Ffoulkes's translation, vol. ii. p. 268]).

The Madonna of Vaprio (ascribed); vol. ii., p. 190.

The Madonna of S. Onofrio, Rome, vol. ii., p. 200-203.

The Madonna with the Scales, original lost, vol. ii., p. 181–182. Rep., vol. ii., pl. xvii. The Madonna of the Palazzo Sanvitali, at Parma (the Virgin with S. Michael and the little S. John), seems to have something in common with this picture.

The Virgin and S. Anne, Louvre, vol. ii., pp. 121-132, 162-163. Rep., vol. ii., pl. 19. The numerous copies and imitations of this picture have been catalogued by Mr. Marks in a pamphlet devoted to the question.

The Madonna della Caraffa, which belonged to Pope Clement VII. (Vasari). Lost. Mentioned by d'Argenville as in the Vatican in his time (Abrégé, vol. i. p. 148). According to M. C. Brun (p. 11), the example in the Borghese is the work of Lorenzo di Credi.

The Madonna di Milano, Brera. A fragment, the head turned slightly to the left; a bust, the hair plaited. Chalcography of the Louvre, old number, 326. Drawing by B. Desnoyers; engraving by Massol.

Holy Family in Lord Ashburton's collection, formerly in the Priory of the Escorial. Considered authentic by Rio (L'Art Chrétien, vol. iii. p. 79), but not so by Waagen (Treasures of Art in England, vol. ii. p. 98–99).

Madonna in Lord Battersea's collection. The Virgin is seated, turned slightly to the right; she holds the Child on her lap; he is quite nude, and is also turned to the right; he holds a little cross in his left hand. Background of jagged mountains. This picture-which I only know from photographs-seems to be very beautiful, and to come very near Leonardo. I would point out, however, that the Child's head is too large, and that the execution generally lacks modelling. In type, this Virgin resembles the one in the Louvre S. Anne. This picture was bought at Christie's, at the sale of a lady who had it from Lady Lansdowne. It was at the Old Masters in 1880, at the New Gallery in 1894, and at the Burlington Club in 1898. [A similar picture, with slight changes, belongs to the Duke of Buccleuch, and another to the Duke of Wellington.-ED.]

An inventory of Baron Castelargento's collections at Agosta (1608), mentions an expenditure of 100 crowns for "le cornici del disegno della Madona di Lionardo con la conduta." (Atti. per la provincia di Torino, 1878,

vol. ii. p. 43.)

A Madonna by Leonardo da Vinci-said to be original was bequeathed in 1696 to P. Bourdaloue by François de Rochechouart, Marquis de Chaudenier (Chronique des Arts, 1893, p. 110). But we know how careful we should be in accepting the attributions of the seventeenth century.

Madonna with the Child, S. Catherine and a Donor, in the Church of Sant' Eufemia, at Milan. This half-destroyed fresco has of late years been re-claimed for Leonardo (Schmarsow, Jahrbuch for 1881, vol. ii. p. 135).

The Madonna with the Lily. An engraving by Jos. Juster represents the Virgin with the Child and bears the following legend: "Jesus ludens in gremio sanctissimæ matris lilium tenens. Opus absolutissimum Leonardi Vinci pro christianissimo Rege Francisco I. Joseph, Juster, sc." The Virgin is seen to the waist, seated, holding the Child upon a cushion which lies on her knees; he holds a lily. In the background, to the right, a rock; to the left, a landThis picture once belonged to Charles Patin (Mariette, Abecedario, vol. iii. p. 167.— Rigollot, Catalogue, no. 96).

scape.

The inventory of pictures carried off by the French in 1797 from the Modena Gallery mentions "La B. V. con il Bambino che accarezza l'agnello, Leonardo da Vinci (Piccolo per l'impiedi)." Venturi, la R. Galleria Estense, p. 403.

The Nativity, original lost, vol. i., p. 205. The Adoration of the Magi, Uffizi, vol. i., pp. 16, 40, 45, 53, 61-80, 141, 161; vol. ii. pp. 6, 17.

The ascription to Leonardo of an Adoration of the Magi preserved at Saint-Paterne (Touraine), is quite fantastic (Réunion des Sociétés des Beaux Arts des Départements, 1897, pp. 187 et seq.).

Christ disputing with the Doctors, National Gallery; ascribed to Leonardo, but in reality by Luini.

[The ascription to Leonardo has long been abandoned, and the picture now bears the name of Bernardino Luini.-Ed.]

A half-length of Christ. Père Dan mentions among the pictures of Leonardo preserved at Fontainebleau a Christ a mi-corps. Lépicié, again, says the king possessed such a picture. See also Mariette's Abecedario (vol. iii. p. 167). This picture, which has nothing to do with Leonardo, is now in the Museum at Nancy (engraved in the Magasin pittoresque for 1849, p. 288, with a commentary by the Marquis de

Chennevières).
According to M. Durand-
Gréville it is a Flemish picture of the sixteenth
century.

A Christ bearing the Cross, in the Liechtenstein Gallery at Vienna, is attributed by Waagen to Cesare da Sesto. It is a hard, dull picture, with a surface like yellow wax.

The Last Supper, Refectory of Santa Maria delle Grazie, at Milan, vol. i., p. 177-200; vol. ii., p. 109 Rep., vol. i., pl. viii.

Head of Christ, Brera, Milan. Rep., vol. i., pl. ix.

The reader will understand how impossible it is to discuss all the copies made from the Last Supper in the sixteenth century. Lists of the chief ones will be found in Bossi (Del Cenacolo di Leonardo da Vinci, Milan, 1810), Guillon (Le Cénacle de Léonard de Vinci, Milan, 1811), and in Stendhal (Histoire de la Peinture, p. 152–154). Heads of Apostles, Weimar Museum, vol. i., p. 191, note. See vol. i., pl. x.

Heads of Apostles, Strasburg Museum. Six cartoons in colour after the heads in the Last Supper. The head of Christ is beardless. These copies are very weak in expression, and Dehio, who has written a monograph upon them, hesitates to pronounce decisively upon their origin. He thinks, however, that they might be referred to Boltraffio without much temerity Jahrbuch for 1896).

Among the copies made for French amateurs, I may note: one made for the Cardinal d'Amboise (1510): “la Cène faicte en toille en grands personnaiges, que feu monseigneur fist Roman: Réunion des apporter de Milan" Sociétés des Beaux Arts des Départements, 1883, p. 61-65). Francis I. caused a copy to be made in tapestry (it is now in the Vatican); the Connétable de Montmorency another, on canvas; this copy, formerly in the Château of Ecouen, is now in the Louvre. It has little merit. The colour has a disagreeable red tone, and the heads are hard and mean in expression. It contains several variations upon Leonardo. The two side-walls have doors in them, but are otherwise quite bare, and without the happy ornament of the original.

Marco d'Oggiono's copy, formerly at the Certosa, Pavia, now belongs to the Royal Academy of Arts. It hangs in the Diploma Gallery.

Among copies unknown to Bossi I may mention one in the Ospedale Maggiore of Milan, painted by one Antonio da Gessate, at the beginning of the sixteenth century (Arte e Storia, 1890, p. 215; Archivio storico dell' Arte, 1890, p. 410); that of the Hermitage (no. 78 in the catalogue of 1891), and one at Ponte Capriasca.

A copy by Cesare Magnis has been acquired by the Brera (Archivio storico dell' Arte, 1890, p. 410).

A very mediocre copy was brought to Paris in 1891, by some Russian or Hungarian dealers, and offered as Leonardo's original sketch!

The Last Supper was copied by the miniaturists of the sixteenth century, as we may see in a Book of Hours exhibited in the Royal Library of Brussels. (Livre d'Heures de Hennessy.)

In a Notice d'un Haut-relief en bronze doré, représentant la Cène ou Cénacle, tableau de Léonard de Vinci, peint dans le réfectoire du monastère des dominicains de Santa Maria delle Grazie, à Milan (Odessa, 1890; small folio of 14 pages, with 6 photographs), M. P. Kortschak attempts to prove that the relief in question (which belongs to M. Peter Schoumlansky, at Kichinef) was modelled and chased by Leonardo himself, and that the famous wallpicture was painted from it!

The Resurrection of Christ, Berlin Museum (ascribed), vol. i., p. 53; cf. vol. ii., p. 182.

Head of an Angel. Lost. Vasari tells us that there was in the palace of the Grand Duke Cosimo de' Medici a picture of an angel's head, with a raised arm, so painted and foreshortened from the elbow to the shoulder that it seemed to project from the picture, while the other arm was folded upon the breast. According to Vasari's editors, this picture was discovered in Florence in a deplorable state, and sold to a Russian.

Angels, full length, playing on musical instruments, National Gallery. These were acquired in 1898, from the Melzi collection, Milan, vol. i., p. 169; vol. ii, pp. 36-37. They are probably the work of Leonardo's assistant, Ambrogio de Predis. One of the two, the one in profile, does not even show the Leonardesque type, and the execution is entirely unlike that of the central panel, the Madonna of the Rocks.

Angel, in Lord Ashburton's collection. Falsely ascribed to Leonardo, according to Waagen (Treasures of Art, vol. ii. p. 99).

S. John the Baptist, the Louvre, vol. ii., pp. 184, 211-212. Rep., vol. ii., pl. 26. Copies in the Ambrosiana and in the Naples Museum.

:

Imitations in the collection of Mr. W. G. Waters, London. The right arm raised on the left side of the head. New Gallery, 1893-1894; no. 193. In the Hewitson collection, the right arm raised on the right of the head. New Gallery, 1893-1894; no. 187. Miss Ffoulkes ascribes this picture to Salaino: Archivio storico dell' Arte, 1894, p. 255.

S. Jerome in the Desert, vol. i., pp. 79, 81. For replicas of this composition see Rigollot's Catalogue, no. 6. The inventory of the pictures preserved in the Palazzo del Giardino, at Parma, in 1680, mentions a quadro alto br. 1 on. 1, largo on. 10; un S. Girolamo con la mano

destra al petto, et alla sinistra vi ha un libro, di Leonardo da Vinci" (Campori, Raccolta di Cataloghi ed Inventarii inediti, p. 216-217).

S. Sebastian, sold to the Czar for 60,000 francs by M. Wolsey-Moreau, of Paris. See Charles Blanc (Gazette des Beaux Arts, 1861, vol. i., p. 65-74), and Morelli (die Galerien Borghese und Doria Pamfili in Rom (p. 87–88). This picture, which has nothing in common with Leonardo, has been discussed in connection with a drawing in the Vallardi collection in the Louvre, of a naked man holding a dog under his left arm (a pasticcio on the Faun with the Panther), which may well be by Pisanello.

S. Catherine. In 1650 the Modena Gallery exchanged a S. Catherine by Leonardo for a portrait by Titian (Venturi, La R. Galleria Estense, p. 243).

The S. Catherine of Louis XIV.'s collection— it now hangs in the chapel at Compiègne-is very commonplace in execution. The saint is seen to the waist between two angels; she holds a book. It has blackened a little in colour, and at most is a work of Leonardo's school.

The Daughters of Herodias ascribed to Leonardo are numerous, but none have any claim to be considered authentic.

I may say the same of the drawings and pictures representing the Magdalen (Rigollot, no. 49). The French Cabinet des Estampes has two engravings dealing with the subject: the one, signed "Ant. Riccioni inc.", represents the saint to the waist, full face, holding a vase in her right hand and supporting the folds of her robe with the left ("Ex originali tabula olim in ædibus Aldobrandinis"). The other is different, and shows the saint raising the lid of her pot of ointment. There is no indication of provenance.

II

MYTHOLOGICAL, ALLEGORICAL, AND HISTORICAL SUBJECTS

The

La Rotella, vol. i., pp. 45-46, 141. Medusa's Head, Uffizi, vol. i., p. 46-47. author of the Cicerone believes this to be the work of a Milanese, perhaps Lomazzo, painted from the description given by Vasari. Another head of Medusa (front face, the mouth open, serpents about the head, derived, undoubtedly, either from Vasari's description, or from the Uffizi picture) is, in the same collection, ascribed to Caravaggio.

Decorative paintings in the Castle of

Milan.

Bacchus, Louvre, vol. ii., pp. 184-185. Rep. vol. ii., pl. xx.

Leda, formerly at Fontainebleau, vol. ii., p. 164-169.

The Rape of Proserpine. Cassiano del Pozzo, who was at Fontainebleau in 1625, speaks of this picture as very careful, but somewhat hard and dry in execution (Müntz and Molinier, Le Château de Fontainebleau au xviie siècle, Paris, 1886, p. 17). The figure of Proserpine, supported by Pluto, is, he adds, the best. Were it not for Del Pozzo's general trustworthiness, I should have here suspected him of some mistake. None of the other writers upon Fontainebleau allude to any Rape of Proserpine by Leonardo. Neither do the old biographers, Vasari among them, hint at such a subject having been treated by Da Vinci, and yet Del Pozzo's assertion is not entirely unconfirmed. De Pagave, who compiled a biography of Leonardo in the eighteenth century, speaks of a large drawing of a Rape of Proserpine which belonged to a member of the Melzi family, who caused it to be burnt by his chaplain (Amoretti, p. 112). It seems certain, then, that a drawing dealing with the same subject as the Fontainebleau picture, existed once at Milan (Chronique des Arts, 1898, pp. 266, 274, 275).

The Fall of Phaeton. According to Scannelli (1657), there was a picture of this subject in the Grand Duke of Tuscany's collection. The figures were very small, and the whole work was skilful and fantastic, although merely a sketch. It showed the extraordinary capacity of the master (II Microcosmo della Pittura, pp. 140–141).

The Battle of Anghiari, lost, vol. ii., pp. 1214, 133, 136-152.

Vanity and Modesty, Sciarra Colonna Collection, Rome, now generally ascribed to Bernardino Luini. According to the catalogue, the Museum of Ajaccio (1830) has a replica of this picture (no. 540).

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, d'acquarella tocca di biacca, di mano del Vinci" (valued at 6 scudi). De Nolhac; Gazette des Beaux Arts, 1884, vol. i., p. 427, et seq.

Leonardo has sometimes been credited with the composition reproduced by Marc Antonio in his Triumph after Victory. But the latest and most authoritative of Marc Antonio's biographers, M. Delaborde, claims it for Sodoma (Marc Antoine Raimondi, pp. 202–203).

III PORTRAITS

Portrait of a Jeweller, Pitti Palace, seen to the waist, holding a jewel. By Rid. Ghirlandajo, according to the Cicerone.

Portrait of Marshal G. G. Trivulzio, once so called, in the Dresden Gallery. This has long

been recognised as a Holbein, representing Hubert Morett, an English jeweller [or the Sieur de Morette, a French gentleman who was at the English Court with Holbein.-ED.].

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 Carysfoot. It represents a naked boy, to the waist, holding up with a smile a double-hinged tablet [a 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).

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 × o, 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

I12.

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

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 Mona 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

La Gioconda seems withdrawn into an atmosphere of her own, and unapproachable. The Hermitage picture has grey drapery and a landscape background; at each extremity of the balustrade there is a portion of a column. The face is sweet and smiling, reminding us of Luini. The arms, on the other hand, are much too large, like those of the Chantilly cartoon. The example belonging to M. Chabrières-Arlès (who bought it in 1890, at the Piot sale, for 800 francs) is thus described in the sale catalogue: "no. 567. Portrait of Catharina di San Celso. This Milanese lady, famous for her beauty, is represented nude to the waist, her elbow on the arm of a chair, her body turned three-quarters to our left, her face looking straight out of the picture. Her fair hair, slightly waved, is plaited and tied on the top of her head. A brown drapery passes over her right arm and goes round her waist. The hands, crossed one over the other, are exactly similar to those of the Mona Lisa in pose." Piot ascribed both his picture and the one at the Hermitage to Luini; but there can be no doubt that they really proceed from the immediate entourage of Leonardo.

[Another version of the Chantilly and Hermitage pictures belongs to Lord Spencer, and was exhibited at the Burlington Club in 1898. Yet another, with a different background, belongs to Mr. Muir-Mackenzie, Q.C., of London.-ED.]

Anonymous portrait of a young woman (Rigollot, no. 58). The head droops. Her hair is partly arranged in a plait, which surrounds the head like a diadem; the rest falls in waves over her neck (Couché, Galerie du Palais Royal, vol. i. pl. 1). This portrait is now in the Bridgewater Gallery. It is generally ascribed to Luini.

Portrait of a woman, Augsburg Gallery (Rigollot, no. 65), facing the spectator. The best judges now agree to withdraw this portrait from the list of Leonardo's works (Woermann, Geschichte der Malerei, vol. ii. p. 551). To me it seems more like M. A. da Caravaggio than Da Vinci.

Laura celebrated by Petrarch, "drawn by Roger after the picture by Leonardo da Vinci in the Cabinet of the Citizen Masson, engraved by Massot." A handsome young woman, nude, seen front face to below the bust, no attributes, Leonardesque in type. I do not know what has become of this picture.

La Monaca, Pitti Palace (Rigollot, no. 66). There seems now to be a general agreement that this portrait is in the manner of Ridolfo Ghirlandajo. [Mr. Walter Armstrong ascribes it to Giuliano Bugiardini, as also does Mr. Berenson.-ED.]

Female Portrait, formerly in the Castelbarco collection. The ascription to Leonardo has now been superseded by that to Bernardino de' Conti, suggested by Morelli. (Italian Painters, vol. i. Borghese and Doria-Pamfili Galleries in Rome); Miss Ffoulkes's translation, p. 193. [This picture now belongs to Mrs. Alfred Morrison. It was at the Burlington Club Exhibition in 1898.-ED.]

So-called portrait of Joanna of Aragon, Doria Pamfili Palace, Rome, falsely ascribed to Leonardo (see Morelli, Italian Painters, vol. i. p. 311; Miss Ffoulkes's tr.].

Female portrait, Czartorisky Collection, Cracow. This panel (o m. 56 cm. × om. 41 cm.) contains the portrait of a young woman, seen to the waist, and holding in her arms a weasel or ferret, or some other animal of the same family. Her look is frank and lively, but her features have a somewhat haggard cast. She is turned slightly to the right. Her fantastic head-dress is knotted beneath the chin and bound by a ferronière, whence the name by which the picture is generally known. A sort of white veil falls over her forehead. A necklace hangs down over her bosom, which the low-cut bodice leaves exposed. Her somewhat fantastic dress has large slashed sleeves. The right hand rests upon the little animal. Herr Müller-Walde does not hesitate to pronounce this portrait authentic. I have some difficulty in accepting his opinion. The insignificance of the expression and meanness of the execution are most unLeonardesque. The picture is reproduced in Graphischen Künste for 1892 (part v.), and in Rosenberg's Leonardo da Vinci, p. 44.

A mysterious female portrait which formerly belonged to Morelli, who left it to Madame Minghetti, has now found a home with Mr. Davis, an American collector. I only know it from a photograph. It would be rash for me to pronounce an opinion without having seen the original; but, upon such connoisseurs as have seen it, it has produced the effect of a modern forgery, or pasticcio.

Leonardo painted the portrait of a laughing woman. This portrait was copied by Fra Girolamo Monsignori, whose copy was in the Milanese "Zecca" in 1560 (Vasari, vol.vi.,p. 491).

Portrait of a young woman known as Colombina, Hermitage; formerly in the Palais Royal collection. A young woman, seated, nude to the knees, holding in her right hand a campanula, or some such flower, on which her eyes are fixed. Her left hand lies on her knees, and holds a bouquet of the same flowers. Ascribed to Solario by Crowe and Cavalcaselle and Clément de Ris; to Luini by Bruiningk and Somoff, who give a photogravure of it in their Catalogue de la Galerie des Tableaux (S. Petersburg, 1891).