Leonardo da Vinci della Biblioteca di S. M. riprodotti in Fototipia da Pietro Carlevaris). They are described in Uzielli's Ricerche, vol. ii. p. 269-272.

I. Portrait of Leonardo, front face, red chalk. (A copy in the Accademia at Venice; frontispiece, vol. i.)

II. Study for the angel in the Vierge aux Rochers. See vol. i., p. 164.

III. Head of a beardless man, full face, with indication of measurements; lower down, an eye. Pen; autographic notes on the dimensions of the different features. (Uzielli, no. 4.)

IV. Study of two male figures, seen from behind, one holding a sword; muscles very strongly marked. At the side, smaller nude figures, one with a hand upon his hip, another with a hand upon the head of a child. Lower down, a man, in profile, wielding an object which it is impossible to identify. Finally, three horses, one rearing; the second, with a cavalier on his back, walking; the third, also bearing a rider, galloping. Study for the Battle of Anghiari. Pen. (Uzielli, no. 7.) See vol. ii., pp. 149 (note), 153.

V. Two eyes. Autographic notes. Pen. (Uzielli, no. 6.)

VI. Studies of legs for standing figures. Pen. (Uzielli, no. 8.)

VII. Fragmentary studies of horses. point.

Silver

VIII. Studies of horses. Fore-legs. Silver point. (Uzielli, no. 9.)

IX. Studies of horses. Quarters and hind legs. Red chalk. (Uzielli, no. 10.) These hind quarters of horses should be compared with those at Windsor. See vol. ii., p. 274.

with

X. War machines, chariots armed scythes and drawn by two horses each. The one above moves to the right, the one below to the left. Autographic note. Sepia. (Uzielli, no. 13.)

XI. Two insects. Pen. (Uzielli, no. 11.) XII. Bust of a beardless man, in profile, turned to the right; extremely vigorous in expression, a laurel branch about the head. Red chalk. The same head, but without the laurel, is to be found at Windsor (Grosvenor Gallery Catalogue, no. 20). In the Turin drawing the expression is more trenchant; this is perhaps the later drawing of the two. (Uzielli, no. 5.) Reproduced, vol. i., p. 233.

XIII. Three heads of the Apostles, for the Last Supper (heads of Orientals, according to Dr. Richter, pl. cxx.); the head to the left in profile, the one in the centre three-quarters, the one to the right full face. Red chalk. (Uzielli, no. 3.)

XIV. A bald and beardless old man, nude to the knees; he is seated, has an ample cloak about him, and extends his right hand. Red

chalk. The same figure occurs at Windsor. (Grosvenor Gallery Catalogue, no. 64.-Uzielli, no. 14.)

XV. Head of an old man, bald and beardless the nose hooked at the end. Red chalk. The same model as in the drawing published by Gerli, pl. xxxii. (Uzielli, no. 15.)

XVI. Bust of a young man or young woman, the head bent, the eyes drooped; long hair, retained by a fillet. Red chalk. A copy. (Uzielli, no. 16.)

XVII. Head (of Bacchus?) with a wreath of vine leaves. Silver point. School of Leonardo. (Uzielli, no. 17.)

XVIII. Study of a hand holding a baton. (Müller-Walde, fig. 56.) The original of the drawing (no. lxviii.) in the Ambrosiana.

VENICE.

Accademia delle Belle Arti.

The drawings in the Venetian Academy are described, but without much attempt at criticism, in the Marchese Selvatico's Catalogo delle opere d'arte contenute nella Sala delle Sedute del! I. R Accademia di Venezia (Venice, 1854); and in the Catalogue des Dessins originaux de Raphael, Léonard de Vinci, etc. etc., conservés à l'Academie des Beaux Arts à Venise et exécutés en photographie par Antoine Perini (Venice, 1865, nos. 171-191). They have been photographed by Perini, Braun, and Naya, and catalogued in Uzielli's Ricerche (vol. ii. p. 273–282).

The nucleus of the collection belonged successively to Cardinal Cesare Monti, to de Pagave, by whom it was considerably augmented, to Bossi, the author of Del Cenacolo, and finally, to the Abbé Celotti, who sold it to the Austrian Government for the Venetian Academy.

I. Study of the Child Jesus for the Louvre Saint Anne. Red chalk. Identical with the drawing engraved in Gerli's plate ix, except that here the two children, instead of being placed below the fragments of feet, hands, arms, heads and torsoes, which fill the rest of the paper, are placed above them. Much less rude in execution than the drawing shown by Gerli. In the Chantilly drawing the undraped female torso (study for the figure of the Virgin) is wanting. This drawing bears an autographic note by Leonardo on the back. (Braun, no. 41; see also the Gallerie nazionali italiane, vol. ii. p. 44. See vol. ii., p. 129.

II. Study for the Saint Anne. Pen. See vol. ii., p. 127. (Bossi, Del Cenacolo, p. 231; Braun, no. 39.)

III. Study for the head of S. Anne. Red chalk. Doubtful. (Braun, no. 42.)

IV. Saint Anne, similar to the Louvre picture. Red chalk, not by Leonardo. (Braun, no. 40.)

V. Head of Christ, bent, apparently, under the weight of the cross; three-quarters face; beard rather long, flowing hair; haggard expression. Silver point, on greenish paper. See vol. i., p. 88. (Braun, no. 53.)

VI. Study for the Last Supper, autographic notes. Red chalk. See vol. i., p. 185. (Braun, no. 58.)

VII. A naked child seated on the ground; bust profile of a beardless man, with long hair, hooked nose, and high cap (the Emperor Maximilian); the profile of a young woman, turned to the left, wearing a kind of turban and a necklace about her throat. Greenish paper. A beautiful and refined drawing, but in reality the work of Cavallari, who copied the original by Ambrogio de Predis. See vol. i., p. 104. (Gerli, pl. iii*; Braun, no. 55.)

VIII. Three women dancing, with the head of a fourth. Pen. Archaic, with involved draperies. Recalls Verrocchio, but is more refined. See vol. i., p. 36. (Braun, no. 49.)

IX. Head of a beardless old man, seen in profile; for the Battle of Anghiari. (See vol. ii., p. 133.) (Braun, no. 46.)

X. Various sketches for the Battle of Anghiari. (Richter, plate liii-lv.) See vol. ii., p. 148.

XI. Male figure, nude, standing in a circle, the arms stretched out to the circumference. Long notes above and below in the handwriting of Leonardo. See vol. i., p. 241.

XII. Three-quarters head of a beardless young man, turned to the left, the hair in disorder. Red chalk. (Braun, no. 54.)

XIII. Full-face portrait of Leonardo. Red chalk. Probably copied from the one at Turin. (Braun, no. 44.)

XIV. Bust in profile of an old, bald, and

The Louvre.

beardless man, turned to the right. Some indications of measurements. Should be compared with the drawing at Windsor (Richter, pl. li.). At one side the profile, to the waist, of a naked man, with a suggestion of drapery on the shoulder. Pen and chalk. (Richter, pl. ix. Braun, no. 38.) The naked male figure is copied in red chalk in a drawing in the Ambrosiana. (Gerli, pl. ii*.)

XV. Head of a young woman (study for a Madonna); three-quarters view, turned to the right, the eyes looking down. Red chalk. (Braun, no. 47.)

XVI. Bust, front face, of a young woman, with long hair, and crowned with vine leaves (Bacchus ?). Too weak for Leonardo; seems to me rather the work of a pupil. (Braun, no. 52; C. Brun, Leonardo da Vinci, p. 13.)

XVII. Grotesque head of an old man, with deformed mouth and nose. Pen. (Gerli, pl. v* ; Braun, no. 48.)

XVIII. Caricatures. Seven heads in profile, three of them side by side. Pen. (Braun, no. 50.)

XIX. Caricatures. Five heads, four in profile and one a three-quarters view. Pen. (Braun, no. 51.)

XX. Caricature. Head of a woman, in profile to the left. Red chalk. Doubtful. Monogram formed of a D, an L, and a V. (Gerli, pl. v*; Braun, no. 56.)

XXI. Anatomical studies. A torso, a head in profile, a leg. (Braun, no. 38.)

XXII. Anatomical study. A pair of shoulders and arms. Pen. Very doubtful. (Braun, no. 53.) XXIII. Cavalier attacking a foot soldier, who defends himself with the help of a conical shield. Various arms. Pen. (Gerli, pl. vii*.)

The Louvre drawings have been for the most part described in the catalogue of M. Reiset, in those of M. de Tauzia (Notice des Dessins de la Collection His de la Salle, 1881. Dessins Notice supplémentaire, 1887. Deuxième Notice supplémentaire, 1888), and in the Catalogue sommaire des Dessins exposées dans les Salles du premier et du deuxième étage.

I. Samson and the Lion. Pen drawing, more akin to the school of Raphael than to that of Leonardo. Portfolios, 2519, 1643.

II. Madonna and Child. His de la Salle collection, no. 101, ascribed to Raphael by de Tauzia and Morelli (Die Galerien Borghese und Doria Pamfili, p. 197). M. de Tauzia points out the analogy between this study and the Leonardo drawings in the British Museum.

III. Head of Saint Anne. After the picture in the Louvre. (Cat. Reiset, no. 393.) Ascribed to Daniele da Volterra. (Braun, no. 213.)

IV. Study for the drapery of the Virgin in the Saint Anne. (Cat. Reiset, no. 391.) According to Reiset this drawing has been worked upon by a more modern hand. Reproduced, vol. ii., pl. 18.

V. Virgin seated, holding the Infant Christ; in front the little S. John mounted upon a lamb. Another figure lower down. Nothing to do with Leonardo. (Braun, no. 189.)

VI. Three heads of the Infant Christ, profile "perdu," on three distinct sheets. Greenish paper. Studies for the Child in the Vierge aux Rochers. Vallardi collection, Tauzia, nos. 20252026. Reproduced, vol. i., pl. 7, 8.

VII. Head of a child, cut out. Three-quarters face turned to the right. Study for the S. John the Baptist in the Vierge aux Rochers. (De Tauzia

[no. 2024] is mistaken in referring it to the Virgin of Sant' Onofrio.) Vallardi collection. See vol. i., p. 176.

VIII. Holy Family. The Virgin, seated in her mother's lap, holds the Infant Christ in her arms. He turns round to the right to look at S. Anne. Although the subject is similar to that of the Saint Anne, the two compositions differ considerably. (De Tauzia, Notice des Dessins de la Collection His de la Salle, no. 120.)

IX. Holy Family. A drawing done with a very coarse pen. Doubtful and uninteresting. (Cat. Sommaire des Dessins, no. 2302.)

X. Study for a Holy Family. The Virgin seated on the ground, the Child on her knees, the little S. John to the right. On the left a slight sketch of a child. Pen drawing, very slight, but full of distinction and refinement. (Vallardi collection, de Tauzia, no. 2023.)

XI. Madonna and Child. (Vallardi collection. School of Leonardo de Tauzia, no. 2029).

XII. Study for the Adoration of the Magi. (Former Galichon collection.) See vol. i., p. 65.

XIII. Studies for the Adoration of the Magi and for the Last Supper. Pen upon lead pencil. Reverse of the last drawing. (See vol. i., pp. 61, 72, 80, 177.) Formerly in the collections of Sir Thomas Lawrence and the King of Holland. (Tauzia, Dessins, deuxième Notice supplémentaire.)

XIV. Standing statue of Venus Genetrix, no head. Copy after the antique. Red chalk. Has nothing to do with Leonardo or with his school (Catalogue sommaire des Dessins, no. 2303). Berenson ascribes this drawing to Jacopo de' Barbarj (Gazette des Beaux Arts, 1896, vol. ii. (p. 320-330), but I cannot subscribe to any such attribution.

XV. The Rape of Ganymede. Nothing to do with Leonardo. (Braun, no. 183.)

XVI. Two men fighting, undraped, the one half extended on the ground, the other kneeling on one knee and raising a dagger. After the Battle of Anghiari (?). Red chalk. Doubtful. (Braun, no. 196.) See vol. ii., p. 149, note.

XVII. Study of horsemen. Thiers collection. False. See vol. ii., p. 147, note.

XVIII. Man defending himself with the help of a burning mirror against five animals, among which are a dragon and a unicorn. Pen. (Cat. Tauzia, no. 1640. Replica or copy in the British Museum, reproduced in vol. ii., p. 57.) An Italian, perhaps a Milanese, engraving of the early years of the sixteenth century, placed by Bartsch (vol. viii. p. 515, no. 44); and Robert Dumesnil (vol. v. p. 30) in the work of Jean Duvet (Master of the Unicorn), represents the same subject, but with notable alterations. In his engraving (known as Poison et contre Poison-Bane and Antidote) the man with the mirror is naked, and the group of animals is

differently arranged. The engraving is much larger than the drawing; it measures o m. 303 cm. high by o m. 213 cm. wide. (Tauzia, Notice supplémentaire des Dessins des diverses Écoles, 1879, no. 1640.)

XIX. Three-quarters head of a child turned to the right. Silver point. Classed by Reiset among the "unknown" Italian drawings (no. 448); claimed by Morelli for Lorenzo di Credi. (Braun, no. 184.)

XX. Nearly full-face head of a beardless young man, with curly hair, the head slightly thrown up and turned to the right. Much too hard for Leonardo. Ascribed to Lorenzo di Credi. (Braun, no. 193.)

XXI. Head of a young man in profile, with a skull-cap. Formerly in the Jabach collection. Morelli declines to believe in the authenticity of this superb drawing! (Cat. Reiset, no. 382; Braun, no. 172.) Rep., vol. i., pl. i.

Morelli

XXII. Profile head of a young man turned to the right, an oak wreath in his hair. Seems to have been drawn from the same model as no. XXI. Resembles an antique cameo. Formerly in the Jabach collection. ascribes this drawing to Boltraffio, and says it must have been used for the S. Sebastian by that master in the Frizzoni collection. (Reiset, no. 384; Braun, no. (Reiset, no. 384; Braun, no. 176.) Reproduced vol. ii., p. 197.

XXIII. Bust of a beardless young man, with an enormous head of hair. Red chalk. (Reiset, no. 386; Braun, no. 174.)

XXIV. Three-quarters face portrait of a man wearing a large hat, the eyes looking up. Included in Leonardo's school by the Catalogue sommaire des Dessins (no. 2304), but rather, in my opinion, German. (Tauzia, Notice de la Col. His de la Salle, no. 122.)

XXV. Head of an oldish-looking man, without a beard and bald; gloomy expression. Almost full face, but only one ear showing. Pinkish paper, heightened with white. Fine drawing, but the ascription to Leonardo not beyond dispute. No number.

XXVI. Full-face head of a man with a triple chin. Silver point. A horse-like type. This fine portrait is merely ascribed to Leonardo ; but it seems to me worthy of him in every way, especially by the fine modelling of the brows. (Reiset, 392; Braun, no. 179.)

XXVII. Beardless head of an old man, with a sinewy throat. Three-quarters face turned to the left. (Reiset, no. 385. ) See vol. i., p. 237.

XXVIII Head of a beardless old man, threequarters to the right, his curly hair raised over his forehead so as to enframe the face. Lower down, a small profile, slightly indicated. Vallardi collection. Wrongly claimed by Morelli for Bernardino dei Conti. (Tauzia, no. 2027; Braun, no. 169)

256

Too

XXIX. Head of an old man, no beard. dry for Leonardo; more likely by Lorenzo di Credi. (Braun, no. 171.)

XXX. Head of a bald and beardless old man, three-quarters face to the left. Vallardi collecCompared by Tauzia (no. 2028) to Fra Bartolommeo's drawings.

tion.

XXXI. Head of a man, no beard, the features contracted; three-quarters face. May have to do with the Battle of Anghiari. Red chalk. (Braun, no. 195.)

XXXII. Full-face study of a beardless old man. Seems to me rather by Lorenzo di Credi. (Braun, no. 194.)

XXXIII. Head of a bearded old man, by Pisanello. (Braun, no. 192.)

XXXIV. Head of a beardless man; threeRed chalk. A quarters face to the right. 17th century drawing. (Portfolio, no. 2557.) XXXV. Two heads facing each other; a young man turned to the left, a negro to the right. False. (Portfolios, no. 2517, 64.)

XXXVI. Five grotesques. Copy from the Windsor drawing. See vol. i., p. 249. (Portfolios, nos. 2516, 4°; Braun, no. 212.)

For

XXXVII. Portrait of Isabella d'Este. merly in the Calderara, Pino, and Vallardi collections; bought in 1860 for 4,410 francs. See vol. ii., p. 246. (Reiset, no. 390; Braun, no. 162.)

XXXVIII. Head of a woman, nearly full face, looking to the left; high up on the right the profile of a young man, Execution rather stiff, and the expression haggard. Doubtful. See vol. i., p. 213. (Reiset, no. 387.) XXXIX. Front face of a woman, with haggard eyes; the head is covered with a piece of drapery, which hangs down in a knot on either side of the face. A superb drawing, modelled with a power which recalls certain drawings by Albert Dürer (study for the Saint Anne). Reproduced, vol. ii., pl. 20. (Reiset, no. 388.)

XL. Female head, front face. Not genuine. (Braun, no. 163.)

XLI. Head of a young woman, in profile to the left. Lombard school. (Braun, no. 164)

XLII. Bust of a woman, with long hair, almost full face. An interesting drawing by one of Leonardo's pupils. (Reiset, no. 396.)

XLIII. Study of drapery for a kneeling figure, turned to the right. Salle des Boîtes. (Tauzia, no. 1641; Braun, no. 182.) This should be compared with a similar drawing, with slight variations, in the Uffizi. (Braun, no. 447.)

XLIV. Study of drapery, for a Christ Enthroned. The modelling admirably firm and flexible. Painted in black and white on a very fine canvas. Reiset's Catalogue, no. 389. Reproduced, vol. i., pl. ii. There is an almost exact copy in the Malcolm collection at the British Museum, ascribed to Lorenzo di Credi.

Vallardi Collection.

This collection, the main feature of which is a series of drawings by Pisanello, ascribed until quite lately to Leonardo, was bought in 1856 for the sum of 35,000 francs (£1,400) (Gazette des Beaux Arts, vol. i. p. 376). The drawings it contains were described by Vallardi in a pamphlet entitled, Disegni di Leonardo da Vinci posseduti da Giuseppe Vallardi, Milan, 1855. It was probably made at the same time as the collection in the Ambrosiana, and the Chatsworth collection, in which drawings by Pisanello also figure under Leonardo's name.

XLVI. Study of a youth in profile turned to the right; curling hair. The drawing very faint. Doubtful. On the verso, a long note in eighteenth-century writing (that of Padre Resta) declaring it to be a portrait of Melzi. Fol. i, no. 2259.

XLVII. A foot seen from in front, resting on a table. A washed drawing, of a bluish tone. An excellent study, though of doubtful authenticity. Fol. 7, no. 2261.

XLVIII. Two men facing each other, one crowned with laurel. False. Fol. 2, no. 2265. XLIX. An architectural drawing. Pen. Probably by Leonardo. Fol. 39, no. 2282.

L. Drawing of machines. Pen. Parchment. Doubtful. Fols. 40, 41, 42.

LI. Six grimacing heads, facing each other; lower down, on the left, a man in a cap. A good drawing. Fol. 55, no. 2296. (Braun, no. 210.) LII. Five grimacing heads, two of them below, turned to the left; the two above facing each other. Pen. Belonging to the same series as the preceding. Fol. 55, no. 2297 (Braun, no. 209.)

LIII. Head of a beardless old man, nearly full face; curling hair, wrinkled mouth. A copy? Fol. 60, no. 2304.

LIV. A young man, almost in profile turned to the left. Black chalk. Doubtful. Fol. 73, no. 2330.

LV. A man working a pulley. An elaborate drawing on blue paper. Not by Leonardo. Fol. 91, no. 2341.

LVI. A Holy Family. Not by Leonardo. Fol. 131.

LVII. The Virgin of the Rocks. Small. Used for pouncing. A much injured drawing, probably made for an engraving. Not by Leonardo. Fol. 134.

LVIII. Head of an aged man, almost fullface, beardless; the neck very realistically treated. Vallardi states that the model is like the Judas of the Last Supper. Red chalk. Fol. 135, no. 2624.

LIX. Head of a woman, full face; her eyes cast upwards, a wreath of vine leaves on her head. Red chalk. Nothing to do with Leonardo. Fol. 140, no. 10,952. (Braun, no. 163.)

LX. Bust of a woman in profile turned to the left; a handkerchief on her head. Black chalk. Fol. 164. On the reverse, a head in profile. False.

LXI. Study for the head of the Madonna Litta. Vallardi notes its relation to the picture. Fol. 170, no. 2376. Reproduced, vol. i. pl. xi.

Same folio, no. 2250. Studies of armour, with notes in Leonardo's writing. Bluish paper. Pen. LXII. A mole, with a rotonda on the summit ; a plan at the side. Published by M. de Geymüller in Dr. Richter's work (pl. xcviii.). Fol. 182, no. 35,707.

LXIII. Grimacing heads. Pen. Copies. Fol. 186, nos. 35,711, 35,712, 35,714.

LXIV. A statue, seen from behind. Nothing to do with Leonardo. Fol. 208.

LXV. A young man draped in the antique manner. Bust, full face, the eyes cast up. Nothing to do with Leonardo. Ibid.

LXVI. Bust of a young woman, with wavy hair, the eyes cast up. False. Fol. 218 (255). (Braun, no. 201.)

LXVII. An aged man, in a fantastic helmet ; in profile, turned to the left. Pen. Doubtful. Fol. 235, no. 2491.

LXVIII. A grotesque person, in profile, turned to the left, an owl on his tongue. False. Fol. 238, vo.

LXIX. Two flayed arms. Doubtful. Fol. 246. LXX. A naked man, without arms, standing. An anatomical study. Pen. Pollajuolo (?). Fol. 249.

LXXI. Grotesque heads. Red chalk. False. Fol. 267.

Library of the Institut de France.

A large number of sketches are scattered throughout the manuscripts of the Library, published by M. Ravaisson-Mollien. I will only say in regard to these that in one of his plates (pl. xli.) Gerli has grouped together several sketches which have no connection with each other in the manuscripts. The dog's head belongs to MS. I (fol. 48), the two kneeling men to MS. L (fols. 2, 4), etc.

École des Beaux Arts.

Study for the angel in the Virgin of the Rocks. Reproduced vol. i., p. 165.

Head of a young woman; three-quarters, bending forward. Italian chalk, heightened with bistre. A study full of distinction, but probably by some imitator, such as Sodoma, rather than by Leonardo himself.

M. Léon Bonnat's Collection.

This collection, the most important made by an amateur in our own day, contains a series of drawings of the first importance. A few

VOL. II

others, though not by Leonardo, originated in his studio, or are copied from works by him. M. Charles Ravaisson-Mollien is preparing for the publication of this valuable series.

I. The Madonna del Gatto. Pen. Reproduced vol. ii., p. 188. The child sketched at the side recalls Verrocchio's Child with the Dolphin. A large cartoon in Italian chalk.

II. The Virgin seated, facing the spectator and smiling; she holds in her arms the Infant Christ, who raises his hand in benediction; to the left, the little S. John. Study for the Virgin of Sant Onofrio. Reproduced, vol. i. P. 73.

III. The Infant Jesus. A life-size drawing on bluish paper, in the style of the study of a foot in the Louvre. An irregular fragment, the head missing. Height o m. 42 cm., maximum width 0 m. 25 cm. Silver point, heightened with white. Reproduced, vol. ii., pl. 25. Study for the Madonna of Sant' Onofrio.

IIIA. A head of the Virgin, nearly full face, the eyes cast down. Blue silver point on greenish paper. Reproduced, vol. ii. p. 201.

IV. Study for the Adoration of the Shepherds. The Child lies on the ground; the kneeling Virgin adores him. Three figures to the right, four to the left; below, a young man with clasped hands. Height o m., 22 cm., width, o m., 15 cm. Drawn in with pencil, and worked over with the pen. Breadalbane sale, 1886, London. Reproduced, vol. i. pp. 52, 161. V. Christ standing; two apostles with haloes kneeling before him. Pen. Doubtful.

VI. Two apostles with haloes, kneeling. Pen. Doubtful.

VII. S. Sebastian. Standing, naked, save for a slight drapery about the loins; the arms tied behind the back. A fine drawing, closely akin to the drawing published by Gerli (pl. viii.). Both are studies for a Saint Sebastian; but, as I have elsewhere pointed out, they are also the prototypes of Michelangelo's Captive Slaves. Italian chalk.

VIII. An allegorical composition for a medal. Three men standing in confused attitudes; an inscription by Leonardo, with an allusion to Envy. Drawing on white paper, begun in hematite, and completed in ink. Described by M. Ravaisson-Mollien in the Bulletin de la Société nationale des Antiquaires de France, 1894, p. 191-193.

IX. Sketch in chalk, worked over with ink. Marked T. L. (Thomas Lawrence). Reproduced, vol. i., p. 244.

X. Portrait of Baroncelli. Pen. Formerly in the Chennevières Collection. Reproduced, vol. i., p. 53.

XI. Portrait of a young beardless man, in profile, turned to the left; the features somewhat insipid; a long aquiline nose, well-cut

L L