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I. Studies for the Sforsa Monument and
various studies of Horses.

Studies for the Sforza group. A rearing horse, turned to the right, its rider stretching out his right arm. An equestrian statue on a pedestal, a fallen man raising himself to defend himself against the horse. A similar drawing. Another, no. 17. Pen. Rather archaic in appearance and clumsy in its proportions. R. A., no. 70. F. 37. (Richter, pl. lxvi.; Braun, no. 181.)

A rearing horse. Five heads of neighing horses. A lion's head. Profile head, to the right, of a man shouting; analogous to the Medusa in the Scipio of the Rattier Collection. A horse trotting, with his head turned towards his flank. On the back, autograph notes, a horse's head, and some geometrical drawings. F. 65. Reproduced, vol. i., p. 161.

A rearing horse, to the left, head to the right. Italian chalk. F. 66.

Two groups of horses biting each other. A horseman beating a half-fallen horse. Two men, one pursuing the other. (? Studies for the Battle ofAnghiari.) No. 109. Pen. F. 67. On the back: Study for a bodice. Red chalk. A horse rearing, to the left, and throwing back his head. No. 112. Red chalk. F. 68.

Studies of horses. Heads of old men, turned to the right. Standing figures. (An angel raising the right hand, not by Leonardo.) Drawings of machines. On the back: horses in various attitudes, one in profile, and geometrical figures. No. 53. Pen. F. 59.

Horse charging to the right and neighing. Higher up, the hind quarters of another horse. No. ill. Silver-point, on pink paper. F. 62.

A horse rearing to the right, over a tree trunk. The armed rider holds a sceptre in his right hand. No. 3. Silver-point on blue paper. R. A. 66. F. 36. Reproduced, vol. ii., p. 5. (Original of one of the horses reproduced, vol. i., p. 223.)

Three horses in profile, moving to the right. The lowest carries a horseman, who holds a sceptre in his right hand. No. 12. Italian chalk. R. A. 69; F. 38. The lower part reproduced by Or. Richter, pl. Ixx. (Braun, no 182.)

A horse rearing, to the right, over a prisoner. The naked rider brandishes a sword in his right hand. Lower down, an indication of architecture. No. 45. Italian chalk. R. A. 66. F. 35. Partly reproduced, vol. fij, p. 160.

Sketches of machines, and sm..U profile of an old man, turned to the right. frame for a charging horse. M.S. fragments. R. A. 81. F. 60.

Frame for an equestrian statue, etc. No. 30. Pen and red chalk. R. A. 79. F. 53.

A similar drawing. Pen. F. 59. Autograph notes on both sides of the sheet. VOL. II.

Sketches for the frame of an equestrian statue. Long autograph notes. F. 52.

A similar item. F. 51.

Sketches for circular and rectangular pedestals for the equestrian statue, and for various machines. No. 18. Pen. Notes. R. A. 78.

Equestrian group, horse rearing. F. 46.

An equestrian group, the horse moving to the left, its rider turning in the saddle. Lower down, a pedestal with a recumbent statue. No. 49. Pen and red chalk, corrections and alterations in red chalk. On the back a tracing (? more recent in date) of the horse. R. A. 67. F. 39. Reproduced, vol. i., p. 157.

A rearing horse ; the rider, seen from behind, stretches his right hand out backwards. No. 114. Silver-point on blue paper. Autograph notes on the back. R. A. 67. F. 40. Reproduced, vol. i., p. 213.

Front view of a horse. High upon the left, the back view of a horse. Autograph note. Pen. F. 48.

Front view of a horse. No. 124. Silver-point, on blue paper. F. 28.

Horse, in profile to the right. Hind quarters of another horse in the same position. Silverpoint on blue paper. F. 29.

Horse, in profile to the right. Chest and forelegs of another horse. No. 105. Silver-point, on blue paper. R. A. 77. F. 56. Reproduced, vol. i., pl. 6.

Profile to the right of a horse, standing. Profile of a "near" hind-leg; the same leg seen from behind. No. 35. Pen. F. 1.

Horse walking, to the right. Lower down, a three-quarters view of a horse walking to the right. Another horse, seen from behind. Pen and chalk. A horse carrying a rider whose right arm is stretched out behind him. R. A. 74. F. 45. (Braun, no. 184.) Rep., vol. i., pp. 44,89.

Four horses, three of them mounted, walking towards the right. Indications of other horses. No. 19. Italian chalk. R.A. 75. F. 57. (Richter, pl. lxxiii.) The centre of drawing reproduced, vol. i., p. 148.

Five horses, one in profile to the right, another seen from behind, etc. A very small horse moving to the left. No. 48. Silver-point and chalk, on pink paper. F. 15.

Horse in profile, moving to the right, A horse's head. Italian chalk. F. 44.

A horse moving to the right, his rider holds a sceptre outstretched. No. 50. Pen. R.A. 80 F. 43

Five horses, some with, some without riders, [All have riders, but on two these are but slightly indicated.—Eu.] No. 121. Black chalk or pen. (Richter, pl. lxix.)

Horse upsetting an urn. Two horses rearing over an enemy. Two horses walking. R.A. 65. F. 41. Partly reproduced, vol. i., p. 156.

Two horses in profile, one standing, the other

N N

moving to the left. Indications of more horses, one with a rider. No. 103 I ? 105 . Same techr.iq-je. F. 9.

Horse in profile, turned to the left. Hindquarters of another horse. No. 42. Pen. with diagrams. F. 33.

Horse moving to the left. Very small. No. 1?. Pen. Reproduced, vol. ii.. p. 132. F. 24. Horse harnessed between two wheels and bearing a rider. Pen and red chalk. F. 23.

Back view of a horse lying down. Front face of a woman. \'a,'ue sketches. Pen. F. 31a.

Standing horse, turned to the left. Forefoot of another horse. Autograph notes. Silverpoint, on blue paper. On the back, a horse in red chalk. No. 113. F. 31.

Sheets of studies of horses, mostly taken from manuscripts. F. S1.

Fireworks springing from three points. Pen. On the back a horse rearing, to the left, and two women with a child, etc. No. 26. Italian chalk and pen. F. 74.

Two heads of horses, profile and front face. w-,th notes. Two fore-legs of horses. No. 13. Italian chalk, with notes in ink. on pink paper R.A. 76. F. 54.

Two heads of horses, profile to the right and front face. Lower down, a horse seen from behind, and another turned to the right. No. 120. F. 32a. Reproduced, vol. i., p. 128.

Head of a horse, -turned, to the left No. 116; ditto, to the right, no. 117. Red chalk. Doubtful.

Head of a horse, neighing. No. 89. Pen. An autograph note on the back. No. 247. F. 25.

Front view of a horse's chest. Two hind-legs. No. 110. Pen, on brownish paper. F. 11.

Fragment of a horse moving, to the left. No. 15. Italian chalk. On the back, the hind-quarters of a horse: a fore-leg and chest. Pen and black chalk. F. 16.

Middle-piece of a horse, in profile to the left. Black chalk heightened with white, on blue paper. F. 22.

Hind-quarters of six horses. No. 103. Red chalk. R.A.71. F.47. Reproduced, vol. i., p. 152. Fragmentary studies of horses ; one in profile to the right; a fore-hand, with raised leg; two hind-quarters. No. 100. Italian chalk. F. 9. Four studies of a horse's hind-quarters. No. 119. Pen. R.A. 72. F. 50. Reproduced, vol. i., p. 153.

Hind-quarters of a horse rearing, to the left. Black with a little red, chalk. F. 63.

Hind-quarters of a horse rearing, to the left; indications of two more horse. Italian chalk, slightly washed. F. 64.

Unfinished sketch of a horse, moving to the right. Hind-quarters of another horse. No. 39. Pen, on pink paper. F. 13.

Hind-quarters of a horse, turned to the left. Part of a horse seen from behind. A horse s no-trils. No. 47. Silver-point, on pink paper. F. 14.

Four fore-legs, two tu-ned to the right, the other two to the left. No. 104. Silver-point, he:ghtened with white on pink paper. F. 20.

Two fore-legs raised and one straight. No. 102. Red chalk. F. 3.

Two fore-legs, seen in profile: a fore-hand, with both legs : a bent fore-leg No. 101. Red chalk. F. 19.

Study for a near fore-leg. with autographic notes and figures. Pen. R.A. 72. F. 49.

Measurements of fore-legs, two straight, two bent. Autographic notes. Pen. On the back, tracings from the same. F. 55.

Profile of a near fore-leg, turned to the left. No. 16. Red chalk. F. 2.

Fore-leg, in profile. No. 20. Italian chalk and pen. On the back, a palace with flanking pavilions and a bridge in front. Italian chalk. F. 18.

A near fore-leg. No. 38. Pen, with slight wash. F. 27.

Profile of a fore-leg. No. 9. Pen. F. 26. Fragmentary drawing of a horse raising his off fore-leg. Fore-leg of another horse. Pen and Italian chalk. On the back, slight sketches of more legs F. 17.

Hind-leg raised and fore-shortened. Other hind-legs. Slight indications of a horse, moving tothe right. No. 21. Pen, on pink paper. F. 12. Four horses' legs. Italian chalk. On the back, a leg pen;, with figures, and another leg (red chalk,. Three-quarters head of a bearded man, looking to the left : front face (nearly) of a beardless man. No. 23. Pen. F. 30.

Slight sketches of legs. No 33. Italian chalk. F. 6.

Confused sketches of legs. No. 34. Silverpoint, slightly washed. F. 5.

Five legs. No. 106. Pen, on blackish paper. F. 8.

Four legs, similar to the last. No. 118. Same method. F. 10.

Four legs, three in profile, all raised. Red chalk. F. 4.

J. Various Animals.

Head of a lion, with an autograph note. No. 115. Pen, with a little red chalk. F. 77.

Muzzle of a lion, in profile to the right. Head of a lion, front face. No. 17. Italian chalk. On the back, head of a beardless old man, in profile; on the right, a foot, etc. Geometrical figures. Autograph note. Pen.

Studies of cats, leopards, and a dragon. Pen. Autograph note. F. 72a. (Grosvenor Gallery, no. 58; Braun, no. 247.) Partly reproduced, vol. ii., p. 185.

Mead and forepart of the body of a fox, in profile. Hinder parts of the same. No. 122. Red chalk.

Camel. Very minute pen-drawing. Doubtful. Attributed by a modern annotator to Pisanello.

Horse or camel, seen from behind; at the side another animal of the same kind. To the left, two legs. Pen. On reddish paper. F. 21.

An ox, standing, turned to the left. No. 25. Pen and Italian chalk, on grey paper.

An ox, moving to the left. An ass lying down; another ass moving to the right ; another ass, ridden by a man. No. 30. Pen and Italian chalk.

An ox lying down, facing to the right. On the back a sketch of a recumbent animal. No. 37. Red chalk. Doubtful.

Two dogs' heads, one in profile to the right. (no. 27), the other to the left. Pen.

A pelican or phoenix. 97 V. No. 76. Pen, on purplish paper.

Three dragons. No. 52. Italian chalk and pen. On the back, a study for a cuirass or flowered bodice. Pen.

Profile head of a monster; a human head with curved horns, the mouth open, wings instead of ears, a goitre falling from each cheek and pendant breasts. No. 42. Pen and red chalk. R. A. 99.

A monster, with four paws, armed with claws, and a bristly head, moving to the right. Pen and Italian chalk.

Two heads of monsters, seen from in front; one rather like a dog. Pen. No. 40. (Grosvenor Gallery, no. 37.)

Profile of a monster, looking to the right. Two monsters, seen from in front; the one horned. No. 29. Pen. (Grosvenor Gallery, no. 36.)

Profile of a monster, seated, and playing the clarionet. Autographic notes and geometrical diagrams on the back.

F. TreesPlantsFruits.

A tree. No. 187. Pen, on blue paper. (Grosvenor Gallery, no. 77; Braun, no. 248.) Reproduced, vol. ii., p. 93.

A tree with its roots. No. 131. Pen.

Two trees, with their roots very apparent. No. 99 ; V. 17. Pen.

Six detached studies, differing in size (nos. 131, 133, 154), of plants, leaves, flowers, berries, acorns (five in red chalk, one a pen drawing). On the back of no. 133, the profile of a beardless man, turned to the right.

A lily. No. 199. Pen drawing, washed with yellow; has been used for pouncing. (Grosvenor Gallery, no. 97.)

A plant, with thorns and berries. No. 152. Pen. (Grosvenor Gallery, no. 27.)

Six sheets of studies from flowers and plants. Campanulas, no. 195. Red chalk. Reproduced, vol. ii., p. 89. Strawberries, no. 131. Reeds, no. 126; on the back, another plant. Tree and iris leaves. Flowers, no. 130. Reproduced, vol. ii., p. 256. Two heads of bulrushes ("Gionchi"), no. 153. Pen and red chalk. (Grosvenor Gallery, nos. 25-35.)

K. Landscapes and Topographical Drawings.

Landscape with mountains. (Grosvenor Gallery, no. 45; Richter, pl. xxix.)

Group of trees, no. 127. Red chalk. (Grosvenor Gallery, no. 46?) On the back, another tree with the words "Quella parte" in Leonardo's writing.

Landscape, with a stream and a ferry. Pen. (Grosvenor Gallery, no. 62.)

Landscape, with buildings on the right—castle, viaduct, etc. Pen.

Seven landscapes or fragments of landscapes, in red chalk. One of them represents the Alps, Several of them bear autograph notes more or less long. Nos. 172, 181, 194, 196, 197.

Landscape, with a waterspout or scene from the Deluge. No. 137. Red chalk. Richter, pl. xxix. Reproduced, vol. ii., pl. 15.

Five highly-finished little landscapes, three with the pen (nos. 133, 124), and two in red chalk (no. 138); buildings, panoramas, a lake or sea.

The front of a castle, with a large round tower in the middle, and the spire of a chapel; the Chateau d'Amboise, according to M. Lafenestre. No. 173. Red chalk.

Study of dolomites. No. 199. Large pen drawing.

Four studies of rocks, etc. Nos. 160, 166, 182 (one has no number), mounted on one card. Italian chalk.

Another study of rocks; lower down, on the same mount, two ducks. Pen. No. 136. Doubtful.

Study of rocks, or rather of stratification. No. 161. Pen.

Five studies of waves, whirlwinds, hurricanes and cyclones. Italian chalk or pen. One is numbered 139, another bears several lines in Leonardo's writing.

Five more drawings of waves and rocks. Nos. 132, 135. On one, two autograph lines.

Five studies of whirlwinds, waves, etc. Italian chalk. Nos. 143, 144, 145, 161. The other numbers are not very clear. (Cf. Richter, pl. xxxiv.xxxvii., xxxix.)

Study of whirlwinds and scene from the Deluge. No. 107. Pen and wash. Fol. 76. (Richter, pl. xxxiv.) Partly reproduced, vol. ii. p. 25.

Nine geographical charts, mostly in watercolour (Tuscany, Prato, Faenza, Imola, Ferrara, with the Via Appia, etc.—" Miglia 56 per Arno da Firenze a Vicho," etc.) Nos. 125, 167, 169, 170, 171, 177, 190. The names are written partly from right to left, partly in the ordinary way. (Richter, pl. cxi.-cxiv.)

Map of the world, 1513-1514. In 8 segments. Not by Leonardo. Nos. 192, 193. Names sometimes in capitals, sometimes in cursive writing, and not in Leonardo's hand. (See vol. ii., p. 94.)

Six plans. Nos. 131, 133, 154. On the back of 133, the profile of a beardless man looking to the right. In Italian chalk.

M. Architecture and Varia.

A column crowned by a vase, on which a naked child kneels, and blows water into a basin. Pen, with a little red chalk, on bluish paper. No. 51.

A column supporting a man who holds a basket, from which springs a jet of water; to the side, another idea for a fountain. Pen and red chalk, on blue paper. No. 122. (Richter, pl. ci.) Reproduced, vol. ii., p. 153.

A rusticated palazzo; to the right, a portico; in front, a garden with a fountain, and a stream. No. 193. A highly finished water-colour. On the back, plans: "tenga si sempre piene lc citerne." G. 7.

A halberd; an instrument resembling a torpedo, etc. No. 5. Pen.

Emblems. A plough (" oiii impedimento e distrutto dal rigorc "). Profile of a young man or woman, turned to the left. A cut-out design (? a caduceus.) No. 44. Pen. On the back, various drawings; a bodice, which may well be a study for the two fine standing figures of women described above, p. 268. No. 73.

Another plough (" hostinato Rigore "). Blue background, as in the "Destinato Rigore." Reproduced, vol. ii., pp. 8, 9.

Varia, 97 V. Leaves from MSS. containing all kinds of sketches: A man's head, in profile to the left, looking up towards a point of light. (Richter, pl. xxxii.) A skull; a column, etc. Silver-point, on blue paper. Geometrical diagrams; three-quarters head of a young woman, turned to the right. Pen. And a number of small cut-out drawings.

Var1ous Collect1ons.

Collection of the Duke of Devonshire, K.G., at Chatsworth.

I. Studies for the heads of the Virgin and S. John the Baptist in the Virgin of the Rocks. Silver-point, on greenish paper. (Braun, no. 48.) Reproduced, vol. i., pl. vi.

II. Letla and the Swan. With one knee on the ground and the other half bent, Leda draws

the amorous bird towards her with her left hand, while, with her right, she picks a flower. Not in Leonardo's manner ; perhaps by Sodoma, to whom Morclli ascribes it. Should be compared with the drawing at Weimar.

III. Portrait of an old man, with a prominent chin and no beard. This seems to me to represent— with some slight exaggeration—the same individual as the Ambrosiana drawing. (Brogi, 7421. Braun, no. 40).

IV. Three separate drawings, one with a procession; the second, an old man declaiming, seen to the waist; the third, seven heads of Abbe's. Only the second is in the manner of Leonardo; the first and third are not even of the sixteenth century. (Braun, no. 52.)

V. Four studies of heads. A he-goat. The two upper male heads, fine as they are, have nothing to do with Leonardo ; neither has the goat. All three are indisputably the work of Pisanello (the goat recalls the medal of Cecilia Gonzaga, where he is metamorphosed into a unicorn). As for the heads below (the one an old man, with a huge chin and no beard, turned to the right, the other a man wearing a falling cap and with a grin on his face) they are indeed in Leonardo's manner, but I should not venture to pronounce upon their authenticity. (Braun, no. 46.)

VI. Four grimacing profiles, all turned to the right. Thoroughly characteristic of Leonardo. (Braun, no. 53.)

VII. Four heads, caricatures, on two sheets of paper, arranged in pairs, facing each other. In Leonardo's manner. (Braun, no. 55.)

VIII. Four heads, separated, and facing each other; two caricatures, male and female; front face of a beardless man; profile of another. These seem to me copies. (Braun, no. 54.)

IX. A man and a woman, to the waist, facing each other. The man's head is identical with that in Braun, no. 46. A copy or forgery. (Braun, no. 49.)

X. Profile portrait of a middle-aged man to the right; very slight beard. Red chalk. A blurred drawing, of doubtful authenticity. (Braun, no. 50.)

XI. A man of a Rabelaisian countenance, embracing a female of corresponding appearance; both seen to the bust. Nothing to do with Leonardo; the workmanship German. Below, two genii supporting the Medici arms. (Braun, no. 56.)

Captain Holford's Collection, Dorchester
House, London.

A horseman, in profile. Study for the Sforza monument. I only know this drawing through a communication made to me by Mr. Sidney Colvin, Keeper of the Prints at the British Museum.

Mr. William Russell's Collection.

I. Caricature; a head crowned with a vine branch. Is called a caricature of Dante. Pen and bistre. Formerly in the Dumcsnil Collection.

II. A horse's skull. Anatomical study. Reduced replica of a drawing in the liritish Museum. Pen and bistre.

III. Anatomical drawings of a man and a horse. Pen.

IV. Female head. Red chalk. (Sec the Grosvenor Gallery Catalogues, 1877-1878, nos. 671,672,676,814.)

Earl of Warwick's Collection.

A woman's head, almost in profile, the eyes turned upwards. Probably a study for the Virgin in the Louvre Saint Anne. A highlyfinished drawing. (Engraved in the Grosvenor Gallery Catalogues, 1877-1878, no. 675.)

The Rev. W. H. Wayne's Collection.

Study of a head, in coloured chalks. From the Richardson and Hudson Collections. (Grosvenor Gallery Catalogues, 1877-1878, no. 727.)

Drawings Which Have Disappeared.

A Virgin, and two female heads in profile. Belonged to the Elector Palatine. (Venturi, F.ssai, p. 51.)

The Circumcision. {Ixttere pit tori cite, vol. ii., letter no. 92.)

Two children, monsters, one with a double head. (Lomazzo, Trattato, etc., p. 637.)

Portrait of Amerigo Vespucci. According to Vasari, Leonardo made the portrait of the famous geographer. It was a splendid head of an old man, done in charcoal. De Toni doubts whether Leonardo could have painted Vespucci in his old age. Vespucci, he says, was not yet forty when Leonardo quitted Florence. He thinks it must have been the traveller's grandfather whom Leonardo painted; his name was also Amerigo. {Ritratto Leonardesco di Amerigo Vespucci, Padua, 1898.)

In one of his manuscripts, Leonardo notes that : " II Vespuccio mi vol dare un libro di geometria." (Richter, vol. ii., p. 436.)

Portrait of Scaramuccia. According to Vasari, Leonardo drew the portrait of Scaramuccia, captain of the Zingani, and Giambulari left the drawing to Messer Donato Valdambrini d'Arezzo, canon of San Lorenzo.

Drawings Falsely Ascribed To
Leonardo.

The illustrations to certain manuscripts and printed books have been ascribed to Leonardo, but without foundation. On this question see the Ricerche of Signor Uzielli, vol. ii., p. 377387. See also above, vol. i., p. 219-220.

A few licentious designs have been ascribed to Leonardo and his entourage. One or two of them {A Young Man surprising a Sleeping GirlA Font Making Love to a Girl) have been engraved by Giovanni Antonio da Brescia. (Duplessis, Revue universclle des Arts, vol. xv., p. 162.)

Engravings.

The ascription to Leonardo of a series of prints, generally catalogued as by him, rests purely on hypothesis. But several among them —the Muse, the Four Equestrian Statues, the three Heads of Horses — are so completely worthy of his genius, and, in execution, show so many analogies, not to say identities, with his drawings that we may admit them without hesitation into the list of his authentic works.

I. The Muse (according to Passavant, Lc Peintre Gravcur, vol. v., p. 180, no. 2, this is a man's head !) has many analogies with the Saint John the Baptist of the South Kensington Museum (reproduced, vol. i., p. 49), especially when the latter is looked at in profile. Examples in the British Museum and in the French Cabinet des Estampes. Reproduced, vol. i., p. 216.

II. Portrait of a young woman. Reproduced. vol. i., p. 217. Doubtful. British Museum.

III. Four designs for equestrian statues. Reproduced, vol. i., p. 221. One of them is the exact reproduction of one of the Windsor drawings, reproduced, vol. ii. p. 5. British Museum.

IV. Head of an old man, slightly turned to the right; a hood, disordered hair. (Bartsch, vol. xiii., p. 241, no. 21.) School of Leonardo.

V. Another head of a beardless old man, front face. (Bartsch, vol. xiii., p. 241, no. 22.) Reproduced, vol. i., p. 220. Formerly ascribed to Mantegna ; school of Leonardo.

VI. Another head of an old man, threequarters to the left; no beard. He wears a double cap. (Bartsch, vol. xiii., p. 242, no. 23.) In Leonardo's manner, except the mouth, which is not characteristic. The burin is handled, exactly as Leonardo handled the pen.

VII. Three heads of horses. (Bartsch, vol. xiii., ]). 330, no. 24; Passavant, vol. v., p. 54.) The ascription to Leonardo seems to me incou

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