Neptune (?) Pen. (Braun, no. 48.) Reproduced, vol. i., p. I.

XV. Engines of war. A man on horseback drawing a chariot, armed with scythes; below, two other engines of war, and a lance with several heads. Autograph inscription. Pen. (Braun, no. 52.) Reproduced, vol. ii., p. 105.

XVI. Bust of a warrior, in profile, in a richly ornamented helmet and cuirass. Silver-point, on prepared paper. Formerly in the Lawrence, Robinson, and Malcolm collections. Reproduced, vol. i., p. 57.

XVII. Head of a bald, beardless old man, with a triple chin; full face. The original of a drawing in the Ambrosiana. Silver-point, heightened with white, on blue paper. This drawing seems to have been touched up by another hand, which explains its attribution in the British Museum Catalogue to the school of Leonardo, and not to Leonardo himself. Reproduced, vol. i., pl. 12, p. 240.

XVIII. Head of a beardless man, in profile to the right. Silver-point, heightened with white, on bluish paper. The drawing very faint. It seems to represent the same person as no. XVII., and has much in common with a drawing in the Trivulzio manuscript. (Beltrami, p. 68.) Reproduced, vol. i., pl. 10, p. 214, (Braun, no. 46.)

XIX. Head of a beardless man, in profile to the right, his lips parted, his eyes cast up, his hair dishevelled. Red chalk. A fine drawing. (Braun, no. 44.) The same, reversed, in the Ambrosiana.

XX. Bust of a beardless man, still young, in profile to the left, his lips parted, his head protected by a helmet in the form of a lion's mask. He bears some likeness to the young horseman in the Battle of Anghiari. Silverpoint. Doubtful. (Braun, no. 293.)

XXI. Small beardless head, with turned-up nose and protruding lips, in a cap ending in a veil. In profile to the right. A caricature-like study. Pen. (Braun, no. 50.)

XXII. Small head of a bald, beardless man, in profile to the left; the protuberances of the skull very strongly marked, and the chin prominent, but not treated as a caricature. Pen. (Braun, no. 51.)

XXIII. Head of a bearded man, threequarters face turned to the right, looking down. Red chalk. In the manner not of Leonardo, but of Raphael. (Braun, no. 47.)

XXIV. Seven grotesque heads, all in profile, four turned to the right, three to the left. Below, on the right, a shrewish looking woman, screaming. Pen.

XXV. A man with a long beard, facing the spectator; he wears a cap with a feather. Later than Leonardo, possibly not even

Italian. (Braun, no. 297.) The same may be said of Braun's nos. 292, 294, 295.

XXVI. Study of a leg. The lower part of a naked man's body, in profile. Red chalk. Autograph inscription.

XXVII. Three heads of peasants, laughing. Of a pronounced Flemish character, in the manner of Quentin Matsys. Pen. (Braun, no. 49.) False.

XXVIII. Large study of a horse's skull, seen from the front. Wash. Doubtful. A whole series of drawings in the Malcolm collection ascribed to Leonardo are in reality by imitators. Among others, there is a large copy of one of the horsemen in the Battle of Anghiari. I shall not discuss these drawings, which are described in Sir Charles Robinson's Catalogue of 1876.

South Kensington Museum.

I. Design for a monumental chalice, or for the top of a font, ornamented with "putti." Pen and chalk. A charming sixteenth-century drawing, which has no connection whatever with Leonardo, or with his school. No. 2314.

II. Two ornaments, leaves, etc. Pen. No thing to do with Leonardo. Nos. 6702, 6703.

III. Head of an old man, three-quarters face turned to the right. Pen. Another head, in profile to the right. Two heads in profile, a young and an old woman. Above, the skull of

a carnivorous animal (?) Pen and chalk. Doubtful. Dyce collection, no. 152.

IV. Head of a horse, in profile to the left. Pen. A very spirited drawing, not by Leonardo. (Same collection, no. 180.)

V. Two heads, in profile to the right. An old man with a long beard, and a young man in a cap. Pen. Later than Leonardo. No. 188. VI. A grotesque head. An old man, threequarters face turned to the left, with staring Pen. False. No. 179.

eyes.

OXFORD.

Christ Church Collection.

Seven of the drawings in this collection were published in 1879 in the Grosvenor Gallery Publications: Drawing by the Old Masters in the Library of Christ Church, Oxford; and three others by Dr. Richter.

I. Virgin scated, half-length, her breast uncovered; she holds in her arms the Infant Jesus, naked; he lays one hand on his Mother's right breast. Black chalk. Waagen considers this drawing one of Leonardo's masterpieces. Signor Morelli ascribes it to Giampetrino (Die Galerien Borghese und Doria Pamfili, p. 204). Very doubtful. (Grosvenor, no. I.)

II. Study for the Virgin of the Rocks. Bust Bust of a woman, her eyes cast down, her head inclined to the right, her curling hair falling to the upper edge of her bodice, which is cut out at the throat. A somewhat prim expression. Silver-point, heightened with white, on bluish paper. According to Signor Morelli, this drawing is by Bernardino dei Conti. But as a fact, it is, as was shown vol i., pp. 164, 169, an original study by Leonardo for the Virgin of the Rocks.

III. Allegorical composition. Two women seated, a third driving a flock of sheep. Pen. Reproduced, vol. ii., p. 56.

IV. An allegorical composition. A woman mounted on a toad, drawing a bow; behind her a man, on the right a skeleton armed with a scythe. Pen. (Richter, pl Ix.)

V. Allegorical composition. A woman mounted on a skeleton. On one side, a body with two torsoes. Pen. (Richter, pl. lxi.) Reproduced, vol. i., p. 136.

VI. Allegorical composition. A body with two heads and four arms. Pen. Richter, pl. lix. Reproduced, vol. ii. p. 53.

VII. Portrait of a man, in profile to the right, his head thrown back. He has thick lips like a Moor, in spite of his aquiline nose; a triple chin, and curling hair. In black chalk, with the (forged) signature LIONARDO DA VINCI. Ascribed by Waagen to one of the best of Leonardo's pupils. This portrait is certainly not that of Lodovico il Moro, to whom it does not bear the least resemblance. (Grosvenor Gallery, no. 2.)

The

VIII. Portrait of a beardless man, middleaged; a bust, three-quarters to the right. eyes cast slightly upwards. Fifteenth-century costume; a flowered doublet and a cap. Black chalk. A good portrait, but not sufficiently free for Leonardo. (Grosvenor Gallery, no. 3.) IX. Portrait of a young man, a bust, threequarters face. He wears a cap over his long hair, and a doublet fastened up to the throat. There is a certain likeness in this drawing to the portrait of Raphael. Certainly not by Leonardo. (Grosvenor Gallery, no. 4.)

X. A study of drapery. Silver-point, heightened with white, on blue paper. (Grosvenor Gallery, no. 6.) Doubtful.

WINDSOR LIBRARY.

This collection alone contains five or six times as many drawings by Leonardo as all other museums or private collections put together. In this incomparable array, scarcely more than a dozen drawings by pupils or imitators can be pointed out. Thanks to the gracious permission of her Majesty, Queen Victoria, and the great courtesy of Mr. Richard

Holmes, the Librarian of Windsor, I have been able to study this priceless collection at my leisure. If the catalogue I now offer to the public is not altogether definitive, it will at least serve as a useful base for the labours of my successors.

The Windsor collection was formed by Pompeo Leoni, who placed the following inscription on the volume containing it :

"Disegni di Leonardo da Vinci
Restavrati da Pompeo Leoni."

It seems to have been acquired in Spain, after having been for some time in the possession of Juan de Espina. (Plon, Leone Leoni, p. 244246.)

It first found a home in England at Kensington Palace, and afterwards at Buckingham Palace, where Passavant saw it in 1831 (Kunstreise durch England und Belgien; Frankfort-on-the-Main, 1833, p. 234-235). For many years past it has been at Windsor Castle. (See Waagen, Treasures of Art in Great Britain, vol. ii., p. 437-442; London, 1854)-(Rigollot, Catalogue de Euvre de Léonard de Vinci, p. xxxiii.)—(Piot, Le Cabinet de l'Amateur, 18611862, p. 65.)

Seventeen of the drawings were reproduced by Bartolozzi for Chamberlain's collection at the end of last century. In 1877-1878, a large number of them were exhibited at the Grosvenor Gallery, and reproduced in a hundred photographic plates. Dr. Richter has reproduced many others in his monumental book, The Literary Works of Leonardo da Vinci. Others, again, have been photographed by Braun (in this connection see a note by Signor Frizzoni in the Zeitschrift für bildende Kunst, 1890, p. 245-248).

The Windsor collection, formerly bound up in a volume of 236 folios, mounted on blue paper, is now divided into some half-dozen portfolios. Some of the drawings are mounted on very strong cardboard; some are simply laid in wrappers. Many of these latter, of very small dimensions (some are hardly half the size of a postage stamp), appear to have been cut out of manuscripts. I have catalogued them to the best of my ability, although in the present work I have not attempted to give lists of the illustrations accompanying Leonardo's writings, and forming a commentary on them.

The numbering of these hundreds of masterpieces is very capricious. Many bear no marks at all; others, again, have several, some in ink, some in pencil. It may be imagined how greatly this irregularity added to the difficulties of my task. I venture to ask for the indulgence of my readers should any repetitions or confusions have crept into the notes I have had to depend on, far from the collection to which they refer. As far as possible, I have adopted the

oldest of the numbers, which probably refer to the pagination of Pompeo Leoni's volume. These numbers figure in the body of my descriptions, before the mention of the process employed in each case. The others follow at the end. The anatomical drawings, the drawings of horses, and two or three other series, were numbered in pencil by Piumati, whose titles I have adopted. As to the letters R. A. followed by a number, they refer to the exhibition of works by the Old Masters, organised in London in 1879 by the Royal Academy.

The papers used by Leonardo for the drawings at Windsor are of the most varied descriptions; they are tinted with dark red or cinnabar red, pink, green, blue, grey. Only a certain green tint, so characteristic of some drawings in the Louvre, at Christ Church, and at Chatsworth,notably the studies for the Virgin of the Rocks -is absent. Occasionally, the master has written in red chalk on the red paper, which has not added to the legibility of his handwriting.

An examination of the water-marks would be of very great interest, but this is impossible in the case of the drawings that are stuck down to the mounts.

A study of the Windsor drawings should be made the basis on which to pronounce on the authenticity of drawings attributed to the master in other collections. It has convinced me that there are many more authentic sketches by the master than is commonly supposed, or, as Hamlet says, than are dreamt of in our philosophy.

A.-Sacred History.

Michelangelo's David.-A partial sketch of a sea-horse.-Drawing of a standing figure, naked. -Sketch of a palace.-Pen and Italian chalk. Autograph notes on both sides of the sheet R. A., no. 93. (Grosvenor Gallery, no. 53. Richter, pl. lxxxiii.) A fragment reproduced, vol. ii., p. 137. Study for a Madonna, seated, and suckling the Child. The little S. John approaches on one side, his arms crossed; heads of old men and youths in profile, heads of lions, etc. Pen. (Müller-Walde, fig. 49.)

The Virgin reclining, the Infant Jesus beside her. Three Infant Christs playing with cats.Two children embracing each other. Pen, with a little red chalk. No. 204. Signor Morelli has mistakenly pronounced this drawing false. It is in Leonardo's early manner. (Grosvenor, no. 57; Braun, no. 186.) Two motives reproduced, vol. ii., pp. 44, 184.

The Virgin adoring the Infant Christ. The Child naked on the ground.--Head of an old man in profile. A microscopic drawing. Pen. and silver-point. (Richter, pl. xl.)

Study for the drapery of the angel in the VOL. II.

Virgin of the Rocks. Body colour on washed paper. No. 223. (Grosvenor, no. 75; Richter, pl. xliii.; Braun, no. 196.) Reproduced, vol. i., pl. ii.

Study for the arm of the angel, in the Virgin of the Rocks, the forefinger out-stretched. No. 208. Washed drawing, heightened with white. (Grosvenor, no. 72; Braun, no. 241.)

Head of the Virgin. Three-quarters to the left, the eyes cast down, a veil twisted in her hair. Silver-point on blue paper. A very fine drawing of unquestionable authenticity. The prototype of Botticelli's Virgin of the Magnificat. Reproduced, vol. i., pl. iv. Study of a woman's head, not unlike that of the Saint Anne. Three-quarters, the eyes looking down to the right. In three different chalks. (Grosvenor, no. 18; Braun, no. 223.) Doubtful. Study for the head of S. Anne. Three-quarters face, the eyes looking down to the left. chalk, heightened with white. Doubtful. (Braun, no. 222.)

Red

Three studies of feet for the Saint Anne (one is numbered 77); the Child's uplifted foot, and a side view of a foot, turned to the left-an unfinished foot, seen from in front-a foot seen sideways turned to the right. Black chalk, on greyish blue paper. (Grosvenor, nos. 73, 74; Braun, nos. 244, 245.) Cf. vol. ii., p. 128–129. See also below, under the heading: H. Draperies.

Study for a Madonna with the Child. The Virgin seated on the ground, one hand resting on the earth, the other supporting the Infant Jesus, as he blesses the little S. John.-A similar motive without the little S. John. -Two studies for the Infant Jesus bestriding a lamb. Red chalk. No. 203.

A naked child, seated on the ground, and holding what is apparently a vase. No. 57. Pen. On the reverse, notes in Leonardo's handwriting.

Study for an Infant Jesus, seen from behind (without the head), sitting on the Virgin's arm. Pen, washed with bistre. A drawing treated with much "bravura." On the reverse, notes in Leonardo's handwriting. (Braun, no. 205.)

Studies for two naked children, standing; one drawn with the pen, the other in Italian chalk. Lower down, an old man's head. No. 202. Doubtful.

Studies for the Infant Jesus, in profile, seated (two sketches).-Studies for the legs of the same. Red chalk. No. 207.

Study for a breast, once from in front, once from behind. Red chalk.

Several studies for the Infant Jesus, seated or lying down. Studies for the arms and legs. Silver-point on pink tinted paper.

The Infant Jesus, seated. Italian chalk. A mass of confused lines.

M M

Two studies (cut out) for the Infant Jesus and the Madonna of Sant' Onofrio. Doubtful. Red chalk, no. 206. (Grosvenor, no. 76 ; Braun, no. 206.) According to Signor Morelli, this drawing is by Cesare da Sesto (Die Galerien Borghese und Doria Pamfili, p. 212). I hesitate to pronounce it the work of Leonardo.

The Infant Jesus, a bust in profile to the left. Red chalk. No. 3. (Grosvenor, no. 99; Richter, pl. xliv.; Braun, no. 205.)

Figures apparently connected with the Last Supper. Persons standing or sitting. No. 63. Silver-point on pink paper. (Richter, pl. lii.) According to Herr Müller-Walde (fig. 74), this drawing is a study for the Adoration of the Magi.

A sketch for the Last Supper. The disciples seated at the table, Judas at the opposite side; Christ gives the elements to the Apostles, who bow before him.-A circle with a triangle. Autograph notes. Pen. (Grosvenor, no. So.) Reproduced, vol. i., p. 177.

Study for the head of an Apostle, bald, with a short beard. In profile to the left. Red chalk. No. 21. (Grosvenor, no. 8; Braun, no. 214)

The same head, turned more towards the background. No. 36. Red chalk. Reproduced, voli, pl. 9.

Study for the head of Judas. the right. Beardless. No. 3 Reproduced, vol. i., p. 188.

In profile to Red chalk.

Study for the head of an Apostle. Beardless, with frizzled hair, in profile to the right. Red chalk. No. 34. (Grosvenor, no. 9; Braun, no. 220.) Reproduced, vol. ii., p. 12.

The same head; in profile to the left. No. 26. Italian chalk. (Braun, no. 221.)

Study for the head of an Apostle, beardless, in profile to the right. No. 23. (Grosvenor, no. 10; Richter, pl. xlvii.) Reproduced, vol. i., p. 192.

Study for the head of S. Philip. In profile to the left. Black chalk. No. 27. (Grosvenor, no. 16; Richter, pl. lxviii.; Braun, no. 178.) Study for the head of an Apostle, with frizzled hair and a short beard. In profile to the right. Black chalk. No. 40. (Grosvenor, no. 17; Braun, 219.) Reproduced, vol. ii. p. 13. The Last Supper. The whole composition. A mediocre copy, in Italian chalk, of the mural painting. The background different. Inscribed with a note of no interest, relating to measurements: "B. 4/2 el tuto. . . ornamento." (Braun, no. 180).

Pietà. Washed drawing. Nothing to do with Leonardo. Perhaps by Gaudenzio Ferrari. On the reverse, in old writing: "Bernardino Luini." (Braun, no. 249.)

Christ descending into Hades, or S. John pointing out Jesus (Ecce Agnus Dei). Study for the figure of a naked man, stretching out his right hand, and holding the staff of a cross with his left. A beautiful drawing. No. 68. Silverpoint on bluish paper. (Grosvenor, no. 94; Braun, no 203.) Reproduced, vol. ii., pl. 24, See also p. 182.

The Ascension (?) Christ in the air, facing the spectator, his head slightly raised. No. 67 ; R. A. 98. Red chalk. A somewhat confused composition. Doubtful.

Study for the Saint Jerome in the Vatican. The saint is kneeling in exactly the same attitude as in the drawing reproduced by Gerli (pl. i.), save that here he holds a crucifix, which does not appear in Gerli's plate. Silver-point and wash, on grayish paper. (Grosvenor, no. 47; Braun, no. 202.) On the reverse: "Leonardo da Vinci, 53." Reproduced, vol. i., p. 80.

Two naked old men, kneeling. Study for a Saint Jerome (?). Bust of a man. Pen with a little red chalk. No. 76. Doubtful. Saint George and the Dragon. (Four different motives.) Horses standing, rearing or lying down. A leopard. Nos. 46, 115. Pen, with a light wash. (Grosvenor, no. 59; Braun, no. 246 F. 72.) A fragment reproduced, vol. ii., p. 185.

A naked saint, his arms behind his back, bound to a column; the weight of his body rests on his right leg, his left is bent, and supported by a pedestal. Pen and red chalk, on red paper. Doubtful.

B.-Mythological and Profane Subjects.-
Various Scenes.

The Triumph of Neptune. Black chalk. (Grosvenor, no. 48; Braun, no. 187.) Reproduced, vol. i., p. 140. M. Müller-Walde thinks the words inscribed on the drawing, "abassi i cavalli," are quoted from a poem which inspired the composition. It seems to me evident that they are merely a note by the artist, meaning that the horses must be lowered a little, to give greater prominence to the figure of Neptune.

Studies for the Leda. Four different drawings; the heads all three-quarters to the left, the eyes downcast, the hair elaborately dressed, in a network of braids, and twists like horns. One of the drawings, the most unfinished, bears the autograph inscription: "Questa si po levare e porre senza guastarsi." Roughly drawn with the pen, in yellowish ink; some portions seem to have been washed over with white. Only two of the drawings have been photographed by Braun, nos. 224, 225. Two fragments reproduced, vol. ii., p. 160–161.

A naked figure, standing, with head turned aside, in the attitude of the Leda. Very slightly

indicated, unfortunately.

Beside it the head of a beardless old man, in profile to the right. Geometrical drawings. No. 27. Pen. The wolf suckling Romulus and Remus. No. 28. Black chalk. Later than Leonardo. The battle between Pyrrhus and the Romans. There are a few elephants among the forces of the King of the Epirus. The elephants, drawn from the artist's fancy, look like gigantic horses. On their backs are pavilions full of combatants. Red chalk, on red paper. R. A. 100-344.

Study of a young man's head, three-quarters to the night, the mouth half open. (Battle of Anghiari.) No. 44. Red chalk. Below, an architectural drawing. Pen. (Grosvenor, no. 13; Braun, no. 217.) Rep., vol. ii., pl. 21.

A troop of horsemen advancing towards the spectator. No. 113. Black chalk. F. 71. (Richter, pl. lvii.) Reproduced, vol. ii., p. 145. A perfectly authentic drawing, wrongly attributed to Cesare da Sesto.

Horses neighing and prancing, heads of horses, head of a man, shouting. Studies for the Battle of Anghiari. Pen. (Grosvenor, no. 87.) The rearing horse may, indeed, be a study for the Adoration of the Magi.

A group of combatants on horseback. Very confused. No. 31. Italian chalk. (Richter,

pl. lvi.) F. 70.

A naked figure, seated, bound to a tree; behind him a man tightening the cord, and another, seated, his back to the spectator. Red chalk. (Grosvenor Gallery, no. 85.) According to M. de Geymüller (Les derniers Travaux, p. 9) this is a S. Sebastian. I should be more inclined to pronounce it a Marsyas. Not by Leonardo, nor even by any one of his school. R. A. 89.

A group of struggling horses. An incident of the Deluge. Very confused. Red chalk. R. A. 100; F. 34a. (Richter, pl. xxxiv.) A fragment reproduced, vol. ii., p. 25.

Twenty-three naked figures, of small dimensions, engaged in various labours. Pen and bistre. Two naked figures, seated; a leg, raised; a woman, stooping as if to take a child from a cradle. Black chalk. (Grosvenor, no. 55.) Reproduced, vol. ii., p. 65. The standing figure holding a stick is closely akin to that in the British Museum, reproduced, vol. i., p. 1.

An allegorical composition. Utensils of all kinds falling in confusion from the cliff of a promontory, in torrents of rain. Below, the inscription: "O miseria umana di quante cose per danari ti fai servo!" Above: “Di qua Adam e di là Eva." No. 184. Pen. (Richter, pl. lxiv.)

Allegorical composition. A wolf or a bear in a boat. On the globe the date 1516 is clearly legible. This drawing must therefore have been executed in France. It is drawn with red

chalk, of a much darker tone than that commonly used in Italy. Reproduced, vol. ii., p. 45.

An allegorical composition. Persons running out of a temple, others advancing to meet them. Pen. (Richter, pl. lviii.)

Fantastic heads, copies of cameos, etc. No. 60. Pen. (Richter, pl. lxiii.)

An archer fitting his arrow to the bow behind a shield. A war-chariot, harnessed to two horses, standing still. A horseman galloping forward, his lance in rest, and two other lances fixed to his horse's breast, against a war-chariot like the one described above. Pen and wash. R. A. 84. F. 34. Reproduced, vol. i. p. 125.

A cannon foundry. Naked men raising a cannon or cylinder with a crane. Pen. A rough drawing, but full of vigour. Reproduced, vol. ii., p. 101.

A naked man, taking a naked woman by the waist. A landscape. A leg, etc. No. 26. Pen. Autograph notes. On the reverse, several men lifting hammers, and a flute-player, who seems to have been inspired by classic models.

Little figures, barely distinguishable. Italian chalk. No. 33.

Similar motives. Id. No. 84.

A naked man, pursuing a woman on the right. Above, figures reclining, or resting on their elbows. No. 43. Pen. Cut out. (Richter, pl. xxxviii.)

A person seated, turned to the right ; another listens, his chin on his hand. A slight sketch in red chalk. On the reverse, a few words in Leonardo's handwriting.

A labourer driving a plough, drawn by two oxen. Little figures breaking the earth with pickaxes, etc.; barely distinguishable. No. 11. Red chalk.

Half a dozen little standing figures. No. 64. Pen. Almost microscopic.

Six men, standing, in various attitudes. Little pen drawings. Cut out. Nos. 92, 93, 95, 100, 103, 110.

Eight pen sketches, with autograph notes (heads, trees, a peacock, etc.). No. 47. The largest of these drawings, with figures on both sides, appears to be an atlas of natural history. It contains horses, a fox, a lion, a little figure entitled "Fortuna," bears (" orso, orsa,') etc. On the reverse, instruments, tools, plants: "scharsella, fieno, orcj (vases), fritto, ala (a wing), orecchi," etc. Each sketch bears an inscription. Pen. No. 106.

C.-Single Figures.

A young squire, standing, holding a lance in one hand, and resting the other upon his hip. Black chalk. (Grosvenor, no. 60; Braun, no. 193.) F. 73.

A young horseman in the saddle, a lance in