mouth, long hair falling over the cheeks and hiding the ears; the head covered by a skullcap (Pico della Mirandola?). Height o m. 345 cm., width o m. 255 cm. A fine Milanese portrait. Pen and wash. XII. Head of a beardless man, three-quarters face, turned to the left and slightly raised. Red chalk. On the reverse a word in Leonardo's writing.

XIII. Head of a bald, beardless man, with an aggressive expression. Red chalk. Reproduced, vol. ii., p. 152.

XIV. Head of a bald, beardless old man; the cranium very strongly developed. It recalls the old man in the Ambrosiana attributed to Melzi, and also the drawing published by Dr. Richter (pl. xl.). Red chalk. Reproduced, vol, ii., p. 105.

XV. Head of a woman, almost in profile, turned to the right; a smiling expression. Red chalk.

XVI. A horse standing, turned to the left with marks in figures and letters (“largheza di petto," etc.) Silver point on pink paper.

XVII. Studies for the legs of a horse, standing; one leg raised, with figures. These horses are akin to those in the Turin Library. Italian chalk and pen.

XVIII. Sketch of architecture; arches, with an inscription. Red chalk.

XIX. A leaf (acanthus ?) like those in the Windsor Library.

Pen.

M. F. Ravaisson's Collection.

Bust portrait, life-size, of a young man with long fair hair, dressed in the fashion of the late fifteenth and early sixteenth centuries, draped in a black mantle, which shows a pair of rose. coloured under sleeves, and wearing a small cap with upturned brim. The head and body, threequarters to the front, are slightly turned to the right. A low wall in the background. In pastels of different colours.-Height o m. 625 cm., width o m. 480 cm. Ascribed to Leonardo. Exhibited in 1879 at the École des Beaux Arts.

Baron Edmond de Rothschild's Collection. Study for a S. George killing the Dragon, with studies for the horses and a dog. A young man on a horse in full gallop, with a study of a horse seen from behind, and of a horse's head. (Reproduced in the Gazette des Beaux Arts 1867, vol. ii., p. 532-533.) Formerly in the Galichon Collection.

P. Valton Collection.

(Formerly the Armand Collection.) Studies for an Adoration of the Magi (from the Galichon collection). Pen. See vol. i., pp. 16, 45, 65, 76, 141, and vol. ii., p. 9.

A study of archers. Above, three archers taking aim, sheltering themselves behind shields; below, a shell bursting, and three soldiers, one turning round. Formerly in the Mariette, Lawrence, and De Fries collections.. Pen. Vol. i., p. 225; vol. ii., p. 133.

DISPERSED COLLECTIONS.
Denon (1826).

Three caricatures. A woman in profile to the right, with a turned-up nose, and an enormous upper lip; bust of a man in profile to the left, in a pointed cap; he carries a stick on his shoulder; head of an old woman in profile to the left, her mouth open. Pen or chalk. Catalogue, no. 240. Reproduced in Les Monuments des Arts de Dessin, vol. ii, pl. lxx.

Head and legs of a horse or horses. Study. Labourers working a capstan. Ibid.

Emile Galichon Collection (1875).

No. 164. Study of draperies. Drawn with the brush and heightened with white. Sold to M. Amsler for 1,000 francs (£40).

Nos. 168 and 169. Portraits of a man and woman. (Lodovico and Beatrice Sforza ?) Drawn with the brush and with chalk. Sold to Herr Suermondt for 3,600 francs (£144).

On the studies for the Adoration of the Magi, and the Victory formerly in the Galichon collection, see under the Louvre, the British Museum, and the Valton collection.

Bonnaffe Collection (1897).

M. Bonnaffe's collection included a little grisaille (o m. 22 cm. x om. 168 cm.), a head of a woman with curling hair, inclined to the left (formerly in the Leclanché collection). This has been occasionally ascribed to Leonardo himself, but M. Bonnaffé tells me that he considers it a work of Leonardo's school.

CHANTILLY.

Musée Condée.

Study in red chalk for the Infant Jesus of the Saint Anne. Formerly in the Desperet collection (Braun, drawings exhibited at the École des Beaux Arts, no. 41). Akin to the drawing engraved by Gerli (pl. ix.). See vol. i., p. 12; vol. ii., p. 129.

Study of a naked woman, half-length. See vol. ii., pl. xix. and p. 155.

RENNES. Museum.

The Catalogue du Musée de la Ville de Rennes attributes a certain number of drawings to Leonardo or to his school. I am indebted to

M. Lafond, professor at the district École des Beaux Arts of the town, for photographs and descriptions of the more important of these.

I. The Angel of the Annunciation. In black chalk, relieved with white; in profile, turned to the right, one knee on the ground, a lily in the left hand; ample draperies. It looks to me more like the work of Fra Bartolommeo.

II. A youthful head (of an Angel?). Full face. In black chalk, the outlines pricked for pouncing. This beautiful drawing belongs to the school of Raphael, not that of Leonardo.

III. Study of draperies. On canvas, washed with Indian ink, and heightened with white. A standing figure, facing the spectator, but turned slightly to the left. In the manner of Leonardo, but rather dry.

The same process.

IV. A study of draperies. A standing figure, turned slightly to the right; the upper part of the body and the feet naked;

the right hand holds up the draperies. (See remark above.)

V. Portrait of a beardless man in profile to the left, a cap on his head. In black chalk. Florentine school of the fifteenth century. Akin to the drawing exhibited at the British Museum in 1898 (no. 28).

VI. A small grotesque head, with puffy shaven cheeks, a short nose, and large mouth. The hair and ear are confined in a net, over which is a hat with a turned-up brim. Pen. Very delicate in treatment. M. Lafond is inclined to consider this a German drawing.

BERLIN.

Herr Beckerath's Collection.

Fragment of a battle-scene. A group of naked horsemen, fighting. In silver point, on prepared paper. Height, o m. 155 cm., width, o m. 80 cm. Ascribed to Leonardo. Exhibited in 1879 at the École des Beaux Arts.

BRUNSWICK. Museum.

According to a communication for which I am indebted to Professor Riegel, there are in this collection five drawings formerly ascribed to Leonardo, not one of which can be accepted as genuine.

COLOGNE.

Wallraff-Richartz Collection.

Study for an Adoration of the Magi. A large drawing, bearing the (modern) inscription, "A double drawing by Raphael." The figures, eleven in all, are naked, save for some slight indications of draperies: they are drawn with the pen, with pale ink that has turned rather yellow, on ruled paper. The outlines have not been drawn over by a modern hand, as in the corresponding drawing in the Louvre. There is something slightly soft and indefinite in the handling, but the Leonardesque character is strongly defined. (Note the somewhat mournful smile.) The influence of the antique is clearly seen in this careful study of the nude,

and in the attitudes of the figures. On the reverse of the sheet, two studies of crabs, also drawn with the pen. See vol. i., pp. 67, 77.

DRESDEN.

Print Room.

Sketch for a Madonna, in silver point. (Braun, 49.) According to Signor Morelli, this drawing is by Lorenzo di Credi, and not by Leonardo.

Head of a man with a long beard, in profile to the right. Red chalk. Doubtful. More facile in execution than Leonardo's drawings, and probably later. (Braun, no. 47.) Signor Morelli refuses to see Leonardo's hand in this drawing.

A naked man, one knee on the ground, his back to the spectator, his right arm raised as if to defend himself. Is this a study for the Battle of Anghiari? A doubtful work. Signor Morelli rejects it. (Braun, no. 48.) Two naked men (Braun, no. 46.)

running away. Same series.

FRANKFORT-ON-THE-MAIN.

Staedel Institute.

I. Fight between a dragon and a lion. The lion turns round, opening its jaws, the dragon rests one of its paws on the lion's back. Akin to the drawing in the Uffizi (Müller-Walde, pl. xxii.). Passavant identifies this red chalk drawing with that described by Lomazzo (Trattato, p. 336). It was engraved in reverse

by Zoan Andrea (Le Peintre Graveur, vol. v., p. 81).

II. Portrait of an aged man, beardless, threequarters to the front, a bull-dog's face, a most truculent expression. On the reverse is a fragment of a profile (the nose, the mouth, the chin, and the beginning of the throat, a study for the head of a Madonna or Angel). Silver point, on white paper, no. 6954. Mitchell sale, where it was attributed to Ambrose Holbein. I am of the opinion of Herr Bayersdorfer, who was the first to recognise Leonardo's hand in this drawing. The profile especially is quite in the master's manner.

III. Head of a man (no. 4468), full face, beardless and bald, with puffy features. Black chalk on bluish paper. This drawing looks to

me like a forgery.

IV. Head of a child (no. 4467). Red chalk. False.

V. Profile of a man with a satyr's face (no. 4464). Pen drawing. Old, but not by Leonardo.

VI. Bust of an old man, turned to the right, wrapped in a cloak. Red chalk. Height, om. 100 cm., width, om. 068 cm. Formerly in the Hudson, Lawrence, and Mitchell collections. Exhibited in 1879 at the École des Beaux Arts.

VII. Head of a woman, in profile to the right, on the reverse a woman, in profile to the left, opening her mouth to abuse some one (no. 4466). Pen. False.

VIII. Head of a satyr, full face. Pen. (no. 4465.) False.

HAMBURG. Museum.

I am indebted to Herr W. Seidlitz, Director of Fine Arts in the Kingdom of Saxony, for descriptions of the following drawings. I beg here to tender my public thanks to my distinguished correspondent.

I. Aristotle and Campaspe. The scene is a room; Campaspe mounts on Aristotle's back. Pen drawing, on grayish-blue paper. On the reverse, ten lines in Leonardo's writing.

II. Two naked youths, standing, and conversing with an old man, seated; at their feet a naked child; lower down, two other children. Water-colour, on violet-tinted paper.

III. Head of a young man, in profile to the right. Pen. On the reverse several autograph

notes.

IV. Head of a beardless old man. Caricature. In profile to the left, looking up. Red chalk. On the reverse, six lines in Leonardo's writing.

V. Three figures for a treatise on optics. Below, an inscription of one line. Pen. On the reverse, a S. Sebastian, also drawn with

the pen.

MUNICH.

Print Room.

Two copies in red chalk of the portrait of Isabella d'Este, made probably from the drawing at Florence, rather than from that in the Louvre. Old copies, but a good deal modified and embellished.

A small pen-drawing, washed with bistre, of two heads of old men, beardless, in profile turned to the left; one is covered with a sort of cowl. Perhaps an original, but in any case a copy of an original by Leonardo. Rather faint.

PESTH. Museum.

Two heads of warriors, for the Battle of Anghiari. Black chalk. (Richter, vol. i., p. 338.) See vol. ii., p. 148–149.

A warrior fighting. Study for the same. See Red chalk. (Richter, vol. i., p. 339.) vol. ii., p. 148-149.

VIENNA. Albertina.

The drawings in the collection of the Archduke Albert, or Albertina collection, have been

reproduced in photographs by Messrs. Braun,

Clément and Co. Waagen has described them in his work, Die vornehmsten Kunstdenkmäler in Wien (Vienna, 1866-67, vol. ii., p. 135136); but his descriptions call for a rigorous revision, which I have undertaken with the help of Herr Wickhoff's study, published in the (Viennese) Jahrbuch (Die Handzeichnungen der Albertina, fasc. ii., p. xi.).

1. The Visitation. Nothing to do with Leonardo. Ascribed by Waagen to Sebastiano del Piombo. (Braun, no. 89.)

II. Head of Christ, with the crown of thorns. Nothing to do with Leonardo. (Braun, no. 90.) III. Head of S. Anne. (Braun, no. 92.) Herr Wickhoff rightly pronounces this drawing an old copy from the picture in the Louvre.

IV. S. Mary Magdalene standing with clasped hands, surrounded by six angels hovering in the air. A drawing much more akin to the school of Raphael than to that of Leonardo. Ascribed by Waagen to Sodoma. (Braun, no. 93.)

V. Head of a beardless old man, in profile, turned to the left, with a cowl over his habit, known as a drawing of Savonarola, but really representing a man of a totally different age and type. Formerly in the Vasari and Crozat collections. Pen and wash. Caylus, Recueil de Testes de Caractères et de Charges, pl. lxiii. (Braun, no. 97.)

VI. A naked man, standing, facing the spectator, his arms extended; above, the hands

drawn separately. Nothing to do with Leonardo. (Braun, no. 95.)

VII. A woman seated; a study of draperies. An inscription in an unknown handwriting. An interesting drawing, but not by Leonardo. (Braun, 101.)

VIII. Caricatures and heads, in profile. (Braun, no. 98.) False.

IX. A frame of eight drawings, somewhat loosely handled, grouped together in a border designed by Vasari. Pen. Head of a young woman, almost full face. A little S. John the Baptist standing, his hands crossed on his breast. Six grotesque heads. Pen. (Braun, nos. 102-109.) Signor Morelli accepts the six heads as authentic. They are, however, manifestly false, although Vasari did them the honour of cataloguing them under the name of Leonardo.

X. Two heads turned to the left, one of which has woolly hair, and the negro type. Pen. Small size. Doubtful. (Braun, no. 99.)

XI. Two horses standing, facing each other. Pen. More than doubtful. (Braun, no. 100.) WEIMAR.

Private Collection of the Grand Duke. Bust of David. Silver point. Reproduced, vol. i., p. 33.

Heads of Apostles. Copies from the Last Supper. See vol. i., p. 191, note.

Leda with the Swan. Pen drawing. Too full and round in contour to be by the hand of the master. (Braun, no. 148.) Attributed to Sodoma by Signor Morelli. (Die Galerien Borghese und Doria Pamfili, p. 196.)

Head of an aged man, with a Cæsarian profile; bald and beardless, in profile, turned to the right. Doubtful. (Braun, no. 150.)

HARLEM.

Teyler Museum.

Head of a man, in profile to the right, with a very prominent chin. Pen drawing, washed with bistre, on dark yellow paper. This, according to Mr. Scholten, the Keeper of the Museum, is the only drawing that can be ascribed to Leonardo. Others--sketches after drawings or pictures by the master, studies of

LONDON.

heads with pen or pencil-have no real connection with him.

King William II.'s collection contained a fairly large number of drawings by Leonardo, descriptions of which will be found in the Catalogue des Tableaux de la Galerie de feu S. M. Guillaume (p. 142 et seq. 1850). The greater number of these drawings are described here under headings: the Louvre, former Galichon Collection, Weimar Museum, etc.

British Museum (Print Room). The majority of these drawings have been photographed by Braun.

I. The Virgin holding the Infant Jesus on her Lap. A large and brilliant drawing, full of detail and movement. In silver-point and black chalk, on greenish paper (Braun, no. 45). Reproduced, vol. i., pl. 5. The Virgin has a straight thin nose and smiling mouth, with something imperious yet free in the expression,

like the Madonna of Sant' Onofrio. Relying on the analogy of motive here with the Virgin and Child of the great altar-piece in the Brera, representing Lodovico il Moro and his family at the feet of the Virgin (vol. ii., p. 41), Signor Morelli ascribes this drawing to Bernardino dei Conti, or to the anonymous author of this altar-piece. It also served as a study for a Virgin in the Berlin Museum (Bode, Gazette des Beaux Arts, 1889, vol. i., p. 497–499). The factor that tells most against Leonardo's authorship is the treatment of the hands, which

are shrivelled and knotty. They have perhaps been re-touched or worked over. On the other hand, we cannot but be struck by the similarity of handling in this drawing and the studies of the Virgin at Christ Church and Chatsworth (see vol. i., p. 169 and pl. vi). This was not a solitary instance in which a contemporary of Leonardo's translated one of the master's drawings into paint. Compare the Virgin's head of the Windsor drawing, reproduced vol. i., pl. iv., p. 56, with the head of Botticelli's Virgin of the Magnificat.

The Brera picture, moreover, differs in some essentials from the drawing in the British Museum. In the picture the Virgin faces the spectator, whereas in the drawing she is turned to the left; in the picture she is huddled together, while in the drawing her attitude is full of ease and grace. The costume also differs. It is all freedom and elegance in the drawing, whereas in the picture it is clumsy and heavy. We may note another variation. The left arm sustains the Infant Jesus here; there it is extended to the donor's wife. As to the Child, his left arm is laid along his body in the drawing; in the picture it rests on the Virgin's right hand.

II. Study for the Saint Anne. The Virgin, in profile on the right, is seated on her mother's lap, and holds the Infant Jesus, who is blessing the little S. John. In technique, this is closely akin to the drawing at Venice. Lower down, there are studies for the same group or the same figures. Pen drawing, washed with Indian ink. Below, several sketches in pen or chalk; wheels; four autograph lines. On the reverse, a powerful head of an old man, beardless, in profile to the right. Italian chalk. (Former Galichon Collection, no. 163.)

III. The Virgin seated, and holding the Child. A pen-drawing, on pink paper. On one side, profiles and geometrical designs in chalk; on the reverse, the Virgin seated and holding the Child; another, half-length, naked, also drawn with pen and ink. The drawing on the right side of the sheet is perhaps by Leonardo; those on the reverse are extremely doubtful.

IV. Studies for the Infant Jesus playing with a cat. Three children, two seated, one kneeling; a cat alone. Pen. In Leonardo's first manner. On the reverse, three other children and a

cat.

V. Another study for the Madonna del Gatto. The Virgin, seated, holding the Child, who embraces a cat; another study at the side, for the Virgin's head. On the reverse, another and freer study of the same motive. Pen and Indian ink.

VI. Another study for the Madonna del Gatto. Pen. Five groups, and the head of a youth, in profile to the right. The Child is squeezing the

VII. Study of two draped figures, for a Virgin and a S. John the Baptist kneeling. In tempera on very fine canvas, in chiaroscuro. Formerly in the Westcombe, Robinson, and Malcolm collections. Doubtful. (Exhibited in 1879 at the École des Beaux Arts.)

VIII. Study for the Adoration of the Magi. Five persons standing; another sitting; on the left, the profile of an old man turned to the right. Pen (Müller-Walde, fig. 77). On the reverse, an allegorical composition. Pen and ink, on pink paper. A naked woman incites a child to blow through a tube upon a group of three or four persons seated or rather huddled together in the middle of the drawing; among them women with pendulous breasts. In the left-hand corner, a sketch, in silver-point, of a confused group of figures. The inscription, "Ingratitudine, Invidia, Ignoranza (?), Fortuna," is by Leonardo's hand, though all the words are not written backwards.

IX. Studies for the Adoration of the Magi. Above, a draped figure, with a long speakingtrumpet, is shouting into the ear of a seated person; below, two draped figures, seated, seem to be talking together. Pen and bistre. Formerly in the Lawrence and Malcolm collections. Reproduced, vol. i., pp. 72, 225.

X. Study for the Christ of the Resurrection in the Berlin Gallery; the left arm raised, the head only slightly indicated; the drapery floating behind the back is, on the other hand, elaborately treated and very fine. Silver-point, heightened with white, on blue paper. Catalogued as of the school of Leonardo. Formerly in the Malcolm collection.

XI. Study for a Victory. The goddess is naked to the breast, her hair in disorder, one foot raised as if in rapid motion, one hand laid on a sort of tray, which serves as base to a genius about to take flight. Above, a dishevelled head, three-quarters face. A beautiful drawing in pen and ink and silver-point, washed with bistre. On the reverse, a few lines in old handwriting. Formerly in the Desperet, Galichon, and Malcolm collections (Braun, no. 38. Drawings of the Old Masters.)

XII. Five horsemen. Study for the Battle of Anghiari. Pen. It contains the motive of the two horses biting each other's breasts, and a horse in full gallop, recalling the drawing in the late Galichon collection.

XIII. A man defending himself against animals by the help of a burning-glass. Allegorical composition. Original of the drawing in the Louvre. Pen. Drawn with very small fine strokes. Reproduced, vol. ii., p. 57.

XIV. A naked man, standing. Study for a