The inventory of Fulvio Orsini mentions a "quadretto corniciato d'oro, con una donna che dorme et una figura che tiene nelle mani il pastorale et la palma, di mano di Leonardo da Vinci,” valued at 15 scudi (De Nolhac: Gazette des Beaux Arts, 1894, vol. i., pp. 427 et seq.).

A fantastic composition, chiefly known by Agostino Veneziano's engraving--three grotes

que individuals, seen to the waist -is commonly ascribed to Leonardo. But a glance at this print, with its date of 1516 (when Leonardo was still alive), is enough to convince us that it reproduces a Flemish, and not an Italian, original. The Italian inscription-“chi non ci vol veder si cavi gli occhi”—and the monogram L.D.V. must not be allowed to mislead us.

B

S. Jerome, vol. i., p. 159. Bust of S. John the Baptist, in terra cotta, in the South Kensington Museum. Ascribed to Leonardo, vol. i. pp. 49, 57.

The equestrian statue of Francesco Sforza. Destroyed, vol. i., pp. 143–156, 160, 213, 221; vol. ii., pp. 5, 109, 240

The equestrian statue of Marshal Trivulzio, vol. i., pp. 156-157.

Discord. Bas-relief in the South Kensington

Museum. A false attribution, vol. i., pp. 22, 158-159.

A bas-relief with some points of analogy with the South Kensington Discord was discovered in the Carmine, at Venice, by Dr. Bode. The subject is a deposition from the Cross, and the whole is very supple and free in modelling. In one corner kneel two donors, the man at once showing a likeness to Francesco Sforza and, by his broken nose and haughty eyes, to Federigo d'Urbino; the lady is of a liberal scantling. (Archivio storico dell Arte, 1893, p. 77-84; see also above, vol. i., p. 22.)

Scipio. School of Leonardo. Rattier collection. Reproduced, vol. i., pl. v.

C

No complete critical study of Leonardo's drawings has yet been made. The few efforts in that direction, those of Morelli (Die Galerien Borghese und Doria-Pamfili in Rom, p. 225227), Lübke, (Geschichte der italienischen Malerei, vol. ii., p. 79), and Frizzoni (Arte e Storia, 1888, p. 71) deal only with a small number of examples. Sig. Uzielli's catalogue, again, is confined to the drawings at Turin, Venice, and Florence (Ricerche, vol. ii., p. 257, et seq.). As for Weigel's catalogue (Die Werke der Maler in ihren Handzeichnungen; Leipsic, 1865, p. 346362), it is no more than a mere enumeration of those drawings ascribed to Leonardo which have been reproduced by engraving or photography; no attempt is made to separate the wheat from the tares.

This lack of preparatory material gives me the right to beg the reader's indulgence for the attempt at a catalogue I here venture to submit.

I have done all I could to make it complete and definitive, but, seeing how novel the attempt is, I have to put forward my conclusions with

extreme reserve. Nothing is more difficult than to draw the line between Leonardo's own drawings and the innumerable copies made in his studio or by his more or less immediate disciples. He sometimes appears to have even made copies himself of his own drawings.

Many drawings, not by himself, reproduce, no doubt, originals which have been lost, and so must be taken into serious consideration.

I must point out, too, that many authentic drawings have been more or less retouched, which may have led certain critics to take them for copies.

Few names have been more popular with forgers of every kind than that of Da Vinci. Whole collections of bogus Leonardos were created in the eighteenth century. His caricatures, especially, were copied and imitated on a vast scale. A series of pen drawings, passing under his name, was sold for 1,650 francs at the A . . . . sale in 1879. It was engraved by Caylus (Roger Portalis and Beraldi, Les Graveurs du dix-huitième Siècle, vol. i., p. 343).

In cataloguing Leonardo's drawings I have adopted the following classification: - Old Testament - Gospels - History of the Saints -Mythology and History-Standing figures -Heads of children, youths, men, old men, women-Grotesque heads-Animals, flowers,

FLORENCE.

The Uffizi.

landscapes - Fragments and various subjects.

In order to keep the size of this volume within bounds, I have only described such drawings as do not already figure in some easily accessible catalogue.

The drawings in the Uffizi have been described by Léon Lagrange (Gazette des Beaux Arts, 1862, vol. xii. p. 546-548); by Nerino Ferri (Catalogo delle Stampe e Disegni esposti al pubblico nella R. Galleria degli Uffizi, p. 25-28) Florence, 1881, and Disegni antichi e moderni posseduti dalla Galleria degli Uffizi, part iii. p. 161-165 Rome, 1894; and by Uzielli (Ricerche, 1st ed., vol. ii. p. 262-269). According to Morelli, only five of the Uffizi drawings are authentic, those numbered 423, 436, 446, and 449, and the landscape dated 1473. But this assertion has been refuted by Ferri, who has proved that many drawings thus rejected as false bear notes in Leonardo's handwriting.

No. 421. Madonna, the Child holding a cat (Braun, no. 447). A forgery, according to Morelli; but I agree with Ferri in accepting this drawing as authentic; it is most refined in execution.

No. 422. Madonna, the Child sitting on his mother's lap and raising his left hand. Nothing in common with Leonardo (Braun, no. 440).

No. 430. Madonna, seen to the waist, the Child upon her knees (Braun, no. 440). Doubtful.

No. 426. Study for the head of S. Anne in the cartoon belonging to the Royal Academy, London (Braun, no. 436). See vol. ii., p. 128.

No. 436. Study for the Adoration of the Magi, vol. i., pp. 61-70.

No. 435. Fight between a lion and a dragon (Braun, no. 451). This drawing seems to be a Leonardo, but has been heavily re-touched. There is a copy or replica in the Staedel Institute at Frankfurt-a-M. An engraving of a fight between a lion and a dragon, having analogies with Leonardo's drawing, was published in 1892 by the International Chalcographical Society (no. 6). An engraving of the same subject by Zoan Andrea is in existence (Passavant, vol. v., p. 84).

No. 150. Sketch for a combat of horse; has to do with the Battle of Anghiari.

No. 8950. Study for a horseman fighting; has to do with the Battle of Anghiari. Doubtful. No. 204. Nude figure, seen to the waist; VOL. II.

architectural notes and little figures; on the reverse, sketches of machines.

No. 447. Man standing, seen from behind; he wears a biretta. Two heads in profile, a dragon's head, and various sketches of machines, with notes in Leonardo's writing.

No. 432. A naked child, with puffy cheeks, sitting on the ground; its arms raised. Gouache. In the manner of Mantegna. Nothing in common with Leonardo (Braun, no. 433). On the back, A Virgin suckling the Child Jesus.

Heads in profile. Red chalk. Later than Leonardo, and not even of his school (Braun, nos. 443-446).

No. 208. Portrait of Francesco Sforza, Count of Pavia. Attributed to Ambrogio de Predis by Morelli and Ferri.

No. 440. Profile head of a man, turned to the right.

No. 449. Profile head of a beardless man, turned to the right.

No. 427. Bust of a young man, head in profile, turned to the right; a biretta on his head. On the back, bust of a young woman, profile resembles the portrait numbered 419 (Braun, no. 449). Doubtful.

No. 423. Old man, seen to the waist, and profile of a young man, facing each other. Red chalk (Braun, no. 450).

No. 424. Head of a bald and beardless old man, profile to the left (Braun, no. 438); reproduced, vol. i. p. 9.

No. 442. Head of a bald old man, closely shaved; profile to the left. Manner of Leonardo. No. 446. Profile heads of an old and a young man, with the date 1478. Reproduced, vol. i., p. 48.

No. 414. Bust of a young woman, the arms crossed, the curled hair kept in place by a toque (Braun, no. 434). Doubtful. Rather Florentine than Milanese.

No. 419. Portrait of the Marchesa Isabella d'Este. Red chalk (Braun, no. 442). A heavyhanded copy of the drawing in the Louvre (see vol. ii. pl. 17). The refinement of the modelling has entirely disappeared. Another copy (no. 209) is done in black chalk and wash on yellowish paper. Two other copies in red chalk are in the print room at Munich.

No. 425. Young woman, full face, seen to K K

the bust, the eyes dropped, the nose rather short, the chin square, the wavy hair very slightly indicated. Greenish paper (Braun, no. 435). Reproduced, vol. i., pl. 3.

No. 428. Head of a young woman, with long hair. According to Bayersdorf this is a study for the Virgin in the Louvre Annunciation; according to Wickhoff, a juvenile work of Verrocchio; according to Morelli, a Flemish imitation of Verrocchio.

No. 429. Three-quarters head of a young woman, the eyes cast down, a veil over the forehead. School of Leonardo (Braun, no. 441).

No. 431. Three-quarters head of a young woman, drooped towards the right. Certainly not by Leonardo (Braun, no. 432; Rosenberg, Leonardo da Vinci, p. 98). - a

No. 44. Veiled head of a woman; manner of Leonardo.

No. 8949. Head of a woman, in profile. Doubtful.

No. 420. Study of drapery for the lower part of a kneeling figure (Braun, no. 447). Doubtful. Should be compared with the Louvre drawing no. 182, Braun.

No. 433. Study of drapery for the lower part of a standing figure, facing to the front (Braun, no. 430).

No. 434. Study of drapery for a semi-nude kneeling figure, turned to the left (Braun, no. 431).

No. 437. Study for the lower part of a seated figure; one leg crossed upon the other. To be compared with no. 422 (Braun, no. 437).

No. 202. Three studies of men's legs. Doubtful.

Biblioteca Ambrosiana.

The Ambrosiana, which boasts so many souvenirs of Leonardo, is certainly one of the poorest of all collections in authentic drawings by the master. Among the numerous drawings in red chalk, in silver point, in Italian chalk, and in ink, which are exhibited as the work of Da Vinci (several of them bearing notes in Leonardo's handwriting) scarcely more than five or six can justify their pretensions. Morelli, with whom I am happy to be for once in agreement, puts the total of genuine drawings at ten. rest are the work of forgers and copyists, who have set themselves with misplaced ingenuity to imitate the founder of the Milanese school. We must note that this collection seems to have been formed at the same time as the socalled Vallardi album, of the Louvre. The

The

same discordant elements are found in both, drawings by Pisanello, for instance, elbowing those by da Vinci. The same combination occurs in the Duke of Devonshire's collection at Chatsworth.

The collection of drawings formed by Padre Resta, also in the Ambrosiana, is open to still more serious criticism. I doubt whether it contains more than six original drawings; and in giving even this small total, I am speaking generously. The rest of the collection is made up of coarse pasticci, executed, apparently, at the end of the seventeenth, or beginning of the eighteenth centuries, after the chief masters of the Renaissance. The "Indice del Libro intitulato Parnaso de' Pittori, in cui si contengono varj Disegni originali raccolti in Roma da S. R." (first ed. 1707; second ed., Perugia, 1787, pp. 29, 33, et seq.), contains descriptions of several Leonardo drawings inserted in the collection. This work suggests the question, 'Was the Rev. Father Resta dupe or duper?' (See the Lettere artistiche inedite, published by the Marchese Campori, p. 476, et seq.)

Resta plumed himself on possessing the portrait of the Prior of Santa Maria delle Grazie (Indice, p. 33, second ed., Perugia, 1787). I do not know what has become of it.

Most of the Ambrosiana drawings have been engraved, and published by Gerli (1784, a new edition in 1830). They have also been photographed by Marville, Brogi, and Braun.

I. Head of the Virgin, inclined (Saint Anne). Black chalk. Doubtful. (Braun, no. 66.)

II. The Virgin sitting on the ground before the Infant Christ. False (Braun, no. 88).

III. Head of the Virgin, inclined. Study for the Virgin's head in Solario's Vierge au Coussin vert (Braun, no. 90).

IV. Head of the Virgin and study of the Infant Christ for the Vierge aux Rochers (Braun, no. 31).

V. The Infant Christ seated, facing the spectator, and holding a cat. Red chalk (Braun, no. 47).

VI. Three-quarters head of a child, turned to the left. Recalls the studies for the Infant in the Saint Anne (drawing at Chantilly). Gerli, pl. xlv; vol. ii., p. 129.

VII. Studies from the heads of S. Peter and Judas. Red chalk. False (Braun, no. 63). VIII. The Dead Christ, half-sitting. False (Braun, no. 87).

IX. Head of an angel. Study for the angel in the Vierge aux Rochers, inscribed, "Lucido dell' originale smarrito" (Gerli, pl. xxi, Braun, no. 27).

X. Torso of S. Sebastian, red chalk. False (Braun, no. 77).

XI. Study for S. Jerome (Braun, no. 26).
XII. Study for a head of Leda, three-quarters

to the left, the eyes drooped. Red chalk. Doubtful.

XIII. Two studies for a fight between a horseman and a dragon. False. (Braun, no. 43.)

XIV. A horseman in his saddle armed cap-àpie, his visor down and his lance "carried"; red chalk (Braun, no. 49). Has nothing to do with Leonardo. Some critics have seen in this heavy man-at-arms, with closed visor and carried lance, a reproduction of the famous equestrian statue. But even if we accept the drawing as by Leonardo-which I do not-it cannot be a sketch for a monumental statue. The mere fact that the horseman's face is masked by his visor shows that it can have nothing to do with Sforza's project for the glorification of his family.

XV. Galloping horses. Recalls the wild cavalcades of Raphael at Oxford and Lille (Gerli, pl. xii.). Part of the male figure turned to the right recurs in Dr. Richter's plate ix. XVI. Male figure seated. Probably by Filippino Lippi. (Gerli, pl. iv.)

XVII. Figure of an old man, nude, bent forward, his right arm outstretched, his left holding a staff. Mr. Müller-Walde sees a connection between this figure and the S. Jerome painted about 1475, by Perugino, in the Crucifixion of the church of San Giovannino della Calza, at Florence. But the identity of motive is not striking; S. Jerome lays his hand upon his breast to declare his veneration. Leonardo's figure, on the contrary. stretches his out, to point to someone or something. (Braun, no. 41.) Should be compared to the Windsor drawing numbered 47 in the Grosvenor Gallery Catalogue.

XVIII. Nude man, seated, seen in profile, his head in his hands. (Braun, no. 40.) XIX. Two standing male figures, nude; no heads. 83.)

A lion, red chalk. False. (Braun, no.

XX. Standing male figure, nude, the left arm resting on the hip, head in three quarters profile. Recalls the drawing after Michelangelo's David (see vol. ii., p. 137), except that in the David the left arm is bent upon the breast, and the head shown in profile. (Gerli, pl. xix).

XXI. A woman kneeling, undraped; a satyr attacking a goat. False. (Braun, no. 42.)

XXII, Head of a child, turned three-quarters to the left. False. (Braun, no. 29.)

XXIII. Bust of a child, with long hair; front face. False. (Braun, no. 102.)

XXIV. Profile of a child, turned to the right. Portrait of the young Maximilian Sforza. Has to do, as Morelli pointed out, with the Family of Lodovico Sforza in the Brera (see vol. ii. p. 41), ascribed to Zenale. (Gerli, pl. xvii ; Braun, no. 38.)

XXV. Young man with a beard and disordered hair, in profile to the right. Red chalk. Doubtful. (Braun, no. 61.)

XXVI. Portrait of a man, to the waist, almost full face; long falling hair; soft hat, with turned up brim. An unpleasant face, in which I have some difficulty in recognising the hand of Leonardo. (Brogi, no. 6303; Braun, no. 104.)

XXVII. Portrait of a man, beardless, seen in profile, wearing a hat; turned to the left. Red chalk. False. (Braun, no. 62.)

XXVIII. "Lo retrato de lo ilustre signore Prospero Cholona generoso chapitadeo generale de tuto lo exercito de la Cesarea Maiestade de lo Imperio fato in Papia in chasa de la Magnica Madona Leonora Vesconte (?) l'ano de la (?) 1523." This date is enough to exclude Leonardo as the possible author of this dry and poor drawing. It is possibly not even Italian. Red chalk. (Braun, no. 79.)

XXIX. "Retrato del generoso signore Marchese de Peschara, Chapitaneo de Hôm'i d'arme ispaney. Retrato in Placentia in la citadela, a la tabula del Reverendissimo Episcopo et Gubernatore de Placentia, Monsignor Gorra, in sabato el di secondo de zenaro del 1524." Red chalk. (Braun, no. 80.) Same observations as above, no. XXVIII.

XXX. Head of a beardless man; profile to the left; he wears a biretta. Red chalk. False. (Braun, no. 78.)

XXXI. Bust of a beardless man, with bare neck; three-quarters to the right. Red chalk. False. (Braun, no. 76.)

XXXII. Study of a beardless head, turned three-quarters to the right. (Braun, no. 101.) This is a study by Filippino Lippi for his Adoration of the Magi in the Uffizi. It is the last figure but one on the right, in the foreground.

XXXIII. Head of a man of mature age, turned three quarters to the right; he wears a forked beard, and his hair is in disorder. The same head in profile. (Gerli, pl. iv, xv.)

XXXIV. Profile head of a man, with a sneering smile; he wears a biretta. Red chalk. (Braun, no. 68 )

XXXV. Bust of a man, in profile to the right; laurels about his head, and his breast covered by a cuirass. Doubtful. (Braun, no. 35.)

XXXVI. A beardless man, his hair on end; profile to the left. Red chalk. (Braun, no. 48.) XXXVII. Portrait of Leonardo himself; profile. (Braun, no. 45.) Copy of the Windsor portrait.

XXXVIII. Supposed portrait of G. Leno. Red chalk (Braun, no. 84.) (See vol. ii., p. 196.)

XXXIX. Head of a beardless and bald old man, with prominent nose and chin; profile to the right. Doubtful. (Gerli, pl. xxxii.)

XL. Old man's head, beardless, the head covered with a kind of hood; profile to the right. Doubtful. (Braun, no. 37.)

XLI. Portrait of an old man, by Francesco Melzi. (Braun, no. 54.) (See vol. ii., p. 209.) XLII. A beardless old man, with thick hair; full face, the eyes raised. Red chalk. (Braun, no. 58.)

XLIII. Head of a beardless old man, with thick hair; turned three-quarters to the left. False. (Braun, no. 89.)

XLIV. Three-quarters head of a bald and beardless old man, with a hooked nose. "Ritratto del m° di cam. del Re Franc." The same head appears, in full face, in a drawing in the Royal Library at Turin. Red chalk. (Gerli, pl. xxxii. Braun, no. 81.) See vol. ii., p. 205.

XLV. Head of a young woman, threequarters profile to the right; wavy hair, a double necklace about her throat. Silver point. Good drawing of the Milanese school. (Braun, no. 33.)

XLVI. Profile head of a young woman, turned to the right. Doubtful. (Braun, no. 36.)

XLVII. Head of a young girl, full face. Either a free copy or the original of the socalled head of Bacchus preserved in the Accademia at Venice. It is without the crown of vine leaves, however, and the hair is more curly. (Brogi, no. 7407; Braun, no. 50.)

XLVIII. Bust of a young girl, front face. Red chalk. (Braun, no. 52.)

XLIX. Head of a young woman, threequarters profile to the left. Silver point. Doubtful. (Braun, no. 28.)

L. Female portrait, profile to the left, the hair hanging in loops. Red chalk. Doubtful. (Braun, no. 55; should be compared with Braun, no. 65.)

LI. Two heads and two busts of young women, profile and front face. Red chalk. False.

LII. Three heads of young women, two in profile, one front face; a grotesque head; a woman shown to the waist. Red chalk. False. (Braun, no. 57.) LIII. Head of a young woman, three-quarters turned to the left. Unfinished. Red chalk. (Braun, no. 59.)

LIV. Bust of a young girl, undraped, front face, the eyes raised. Red chalk. Nothing to do with Leonardo.

LV. Three-quarters head of a young woman turned to the left. Red chalk. Doubtful. (Braun, no. 85.)

LVI. Two heads of women or angels. Red chalk. Not by Leonardo; in the manner of Ghirlandajo. (Braun, no. 86.)

the waist, the eyes cast down. Sometimes called the Marchesa Isabella d'Este. Doubtful. (Braun, no. 105.) Vol. ii., p. 246.

LIX. Profile portrait of a woman, similar to no. lv. False. (Braun, no. 65.)

LX. Three profiles of young women and two of old men ; grotesques. Pen. Doubtful. (Braun, no. 100.)

LXI. Grotesque heads. False. (Braun, no. 44.)

LXII. Grotesque heads, in profile to the right. Red chalk. False. (Braun, no. 46.)

LXIII. Grotesque head of an old man, beardless, bald, with atrophied chin. Red chalk. (Braun, no. 51.)

LXIV. Seven grotesque heads and the head of a young girl. Red chalk and false. (Braun, nos. 69-75.)

LXV. Grotesque head of a man, receding brow, the lips enormous; profile to the right. Red chalk. Doubtful. (Braun, no. 67.)

LXVI. Sixteen grotesque heads. Pen. Doubtful. (Braun, nos. 91–99.)

LXVII. Grotesque head or an old woman, three-quarters to the right. Copy of the head which figures in the sheet of five caricatures reproduced vol. i., p. 249. (Gerli, pl. xxvi.)

LXVIII. Hand holding a baton. Copy of the drawing in the Royal Library at Turin. (Braun, no. 39.)

LXIX. Study of a torso and legs. Red chalk. False. (Braun, no. 82.)

LXX. Two rearing horses. Horse seen from behind, etc. Red chalk. False. (Braun, no. 64.) LXXI. Head of a horse, three-quarters to the left. False. (Braun, no. 103.)

LXXII. Three horses' heads. Copy of the engraving in the British Museum.

The Codex Atlanticus only contains a small number of figure-drawings. On the other hand, sketches of machines and of ornaments of all kinds are sprinkled lavishly over its pages; they are rapid sketches, showing extraordinary certainty of intention and facility of hand. certain number of false drawings seem, however, to have found their way among them.

ROME.

Borghese Gallery.

A

Head of a young woman, front face, the head slightly drooped, the hair knotted up at the height of the ear. (Braun, no. 43082.) This portrait and that in the Ambrosiana appear to me to reproduce the same model. (Rosenberg, Leonardo da Vinci, p. 94-96.)

TURIN.

The Royal Library.

The drawings in this collection were reproduced in 1888 by Signor Carlevaris (I disegni di