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work with passionate eagerness, and paid eloquent homage to the greatness of his genius. When he passed through Milan he made a drawing of the Last Supper. We also owe him the copy of the central group in the Battle of Anghiari. Rembrandt, too, laid Leonardo under contribution.

My readers will thus realise the number of directions in which the influence of Leonardo disseminated itself. And this without taking into account either Correggio, or his own immediate pupils and imitators,—Salai, Boltraffio, Marco d'Oggione, Cesare da Sesto, Andrea Solario, Melzi, Bernardino Luini, il Sodoma, Gaudenzio Ferrari.

We learn from the old legend that a single drop of milk from Juno's breast produced the Milky Way. Thus one look from the great Leonardo has sufficed to fill Italy and all Europe with masterpieces. Everywhere the seed sown by this mighty magician has brought forth fruit an hundredfold.

i Gazette des Beaux Arts, March, 1892.- Repertorium, 1893, vol. xvi. no. 1.

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APPENDIX

CATALOGUE OF THE WORKS OF

LEONARDO DA VINCI

NOTE

A CATALOGUE RAISONNÉof the whole work of Leonardo, pictures and

drawings, would extend this biography to unreasonable limits; for it would afford material for several substantial volumes. I must perforce confine myself to the enumeration of the chief things ascribed to him, many of which, by the way, have no right to bear the master's name.

A readily made collation of my work with those of Venturi,l Gault de St. Germain,2 Vallardi,3 Rigollot, 4 Arsène Houssaye, and Mrs. Heaton, will show with what an enormous mass of materials I have had to deal. Putting aside those works, the history of which has already been set forth by Rigollot, I shall mainly devote myself to the publication of as many new facts as possible.

Leonardo, like Michelangelo (who did, however, by exception put his name on the Pietàin St. Peter's), never signed his works, so that endless discussion has gone on, and is likely to continue to the end of time, as to the authenticity of his various drawings and pictures.?

As the foregoing volumes contain descriptions and discussions of every picture ascribed to him with any show of probability, I need here do no more than recapitulate them, for the sake of completeness.

1 Essai sur les Ouvrages physico-mathématiques de Léonard de Vinci, Paris, 1797.
9 Traité de la Peinture, ed. of 1820, p. 53 et seq.
3 Disegni di Leonardo da Vinci, Milan, 1830.
4 Catalogue de l'Euvre de Léonard de Vinci, Paris, 1849.
5 Histoire de Léonard de Vinci, Paris, 1869.
6 Leonardo da Vinci and his Works, London, 1874.

? See Uzielli's Ricerche, Ist ed., vol. ii., p. 432-441, on the orthography of the name Da Vinci, and on the supposed marks or monograms used by Leonardo.

VOL. II.

I

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As for false Leonardos, the list is so interminable that it would be impossible as well as useless to enumerate them here. I must be content, therefore, to refer the reader to previous catalogues, restricting myself to a few general observations on pictures erroneously ascribed to the master, and on such as have disappeared.

Mention of a new other pictures ascribed to Leonardo will be found in the Raccolta di Cataloghi ed Inventarii inediti,published by G. Campori (Modena, 1870), and in the Catalogue of the Milanese Exhibition, held at the Burlington Fine Arts Club in 1898 (nos. 39-42, 47, 59, 60, etc.).

To avoid increasing the size of this volume I shall publish a bibliography of Leonardo separately.

A

MURAL PAINTINGS AND EASEL PICTURES

the same of her yellowish drapery. In the

distance, to the left, the dome of the Cathedral SUBJECTS TAKEN FROM THE BIBLE AND FROM

of Florence shows among the rocks. THE LEGENDS OF THE SAINTS.

Other copies exist in the Nantes Museum The Temptation of Adam and Eve, vol. i., (Inventaire des Richesses d'Art de la France), in p. 47.

the Weber Collection at Hamburg (Woermann, The Annunciation, Louvre (ascribed), vol. i., Wissenschaftliches Verseichniss der älteren pp. 45, 49-51.

Gemälde der Galerie Weber in Hamburg ; The Annunciation, Uffizi (ascribed), vol. i., Dresden, 1892, p. 86), in the collection of pp. 1, 50-51.

Madame Chaix d'Est-Ange, 22 Avenue du Bois The Virgin and Child, Dresden (falsely de Boulogne, Paris. ascribed), vol. i., p. 52, note.

The Naples Museum possesses a free and The Virgin with the Pink, Munich (ascribed), imperfect version, ascribed to Niccolò dell' vol. i., p. 51-52. Replica in the Louvre.

Abbate. The Litta Madonna, or Vierge au Sein, Her- A free copy, ascribed to Cesare da Sesto, mitage (ascribed), vol. i., p. 175-176. Repro- figured at the sale of the Marchese Dduced, vol. i., pl. xii. This picture is usually of Genoa, in 1888. (Impresa di Vendite in considered identical with one which was in the Italia di Giulio Sambon, Catalogo della Colhouse of Michele Contarini, in Venice, in the lezione del Marchese D---, di Genova. Milan, year 1543. Signor Frizzoni, however, calls 1888. No. 216, with a photograph of the attention to the fact that the Petersburg picture picture.) is larger than the one formerly in Venice (Notizie Another free copy of the central group, with d'Opere di Disegno, pp. 225-226).

an Annunciation to the Shepherds in the backThe Vierge aux Rochers, or Madonna of the ground, belonged some fifty years ago to the Rocks, Louvre, vol. i., pp. 162-175,211. Rep., vol. English (?) picture dealer Coesvelt (Mülleri., pl. vii. Besides the example in the National Walde, p. 117). For other copies see the Gallery a certain number of other old copies or Cicerone, seventh edition, p. 739 [and the Burfree repetitions of this Madonna are known. lington Catalogue above quoted.-ED.]. In the first place, we have the example acquired The Holy Family of the Hermitage, original by M. Chéramy in 1897, at the Plessis-Bellière lost, vol. ii., p. 181. Rep., vol. ii., pl. xviii. sale (canvas, 1 m. 55 cm. x 1 m. 25 cm. See The Vierge au Bas-Relief, original lost, vol. ii., the Réunion des Sociétés des Beaux Arts des P. 181-182. The Earl of Carysfort has the copy Départements of 1890, and the Revue de l'Art ascribed to Cesare da Sesto, which was long at ancien et moderne, of 1897, vol. ii., p. 405). This Gatton Park. It was exhibited at the Burlingremarkable picture is a little rubbed in the ton Fine Arts Club in 1898. For other copies carnations; the hands of the two children are see Rigollot (p. 32-40). retouched, and so are the feet of the Child The Madonna del Gatto, original lost, vol. ii., Jesus. The Virgin's bodice shows a greenish p. 183-184. tone, which seems suspicious, and we may say The Virgin with the Distaff, original lost.

Letter of P. da Nuvolaria, April 4, 1503, vol. ii., p. 121.

The Madonna of Grenada, a small picture formerly ascribed to Lorenzo di Credi. (See Crowe and Cavalcaselle's History of Painting in Italy, vol. iii. p. 407.)

The Virgin with flowing Hair, in the Museum of Augsburg. Morelli says this is a Flemish picture (Die Galerien zu München und Dresden, p. 347 (Miss Ffoulkes's translation, vol. ii. p. 268]).

The Madonna of Vaprio (ascribed); vol. ii., p. 190.

The Madonna of S. Onofrio, Rome, vol. ii., p. 200-203.

The Madonna with the Scales, original lost, vol. ii., p. 181-182. Rep., vol. ii., pl. xvii. The Madonna of the Palazzo Sanvitali, at Parma (the Virgin with S. Michael and the little S. John), seems to have something in common with this picture.

The Virgin and S.' Anne, Louvre, vol. ii., pp. 121-132, 162-163. Rep., vol. ii., pl. 19. The numerous copies and imitations of this picture have been catalogued by Mr. Marks in a pamphlet devoted to the question.

The Madonna della Caraffa, which belonged to Pope Clement VII. (Vasari). Lost. Mentioned by d'Argenville as in the Vatican in his time (Abrégé, vol. i. p. 148). According to M. C. Brun (p. 11), the example in the Borghese is the work of Lorenzo di Credi.

The Madonna di Milano, Brera. A fragment, the head turned slightly to the left ; a bust, the hair plaited. Chalcography of the Louvre, old number, 326. Drawing by B. Desnoyers; engraving by Massol.

Holy Family in Lord Ashburton's collection, formerly in the Priory of the Escorial. Considered authentic by Rio (L'Art Chrélien, vol. iii. p. 79), but not so by Waagen (Treasures of Art in England, vol. ii. p. 98-99).

Madonnu in Lord Battersea's collection. The Virgin is seated, turned slightly to the right; she holds the Child on her lap; he is quite nude, and is also turned to the right; he holds a little cross in his left hand. Background of jagged mountains. This picture—which I only know from photographs-seems to be very beautiful, and to come very near Leonardo. I would point out, however, that the Child's head is too large, and that the execution generally lacks modelling. In type, this Virgin resem. bles the one in the Louvre S. Anne. This picture was bought at Christie's, at the sale of a lady who had it from Lady Lansdowne. It was at the Old Masters in 1880, at the New Gallery in 1894, and at the Burlington Club in 1898. [A similar picture, with slight changes, belongs to the Duke of Buccleuch, and another to the Duke of Wellington.--Ev.]

An inventory of Baron Castelargento's collections at Agosta (1608), mentions an expenditure of 100 crowns for “le cornici del disegno della Madona di Lionardo con la conduta.” (Atti .... per la provincia di Torino, 1878, vol. ii. p. 43.)

A Madonna by Leonardo da Vinci-said to be original-was bequeathed in 1696 to P. Bourdaloue by François de Rochechouart, Marquis de Chaudenier (Chronique des Arts, 1893, p. 110). But we know how careful we should be in accepting the attributions of the seventeenth century.

Madonna with the Child, S. Catherine and a Donor, in the Church of Sant Eufemia, at Milan. This half-destroyed fresco has of late years been re-claimed for Leonardo (Schmarsow, Jahrbuch for 1881, vol. ii. p. 135..

The Madonna with the Lily. An engraving by Jos. Juster represents the Virgin with the Child and bears the following legend : "Jesus ludens in gremio sanctissimæ matris lilium tenens. Opus absolutissimum Leonardi Vinci pro christianissimo Rege Francisco I. Joseph, Juster, sc.” The Virgin is seen to the waist, seated, holding the Child upon a cushion which lies on her knees ; he holds a lily. In the background, to the right, a rock; to the left, a landscape. This picture once belonged to Charles Patin (Mariette, Abecedario, vol. iii. p. 167.Rigollot, Catalogue, no. 96).

The inventory of pictures carried off by the French in 1797 from the Modena Gallery mentions “ La B. V. con il Bambino che accarezza l'agnello, Leonardo da Vinci (Piccolo per l'impiedi).” Venturi, la R. Galleria Estense, p. 403.

The Nativity, original lost, vol. i., p. 205.

The Adoration of the Magi, Uffizi, vol. i., pp. 16, 40, 45, 53, 61-80, 141, 161 ; vol. ii. pp. 6, 17.

The ascription to Leonardo of an Adoration of the Magi preserved at Saint-Paterne (Touraine), is quite fantastic (Réunion des Sociétés des Beaux Arts des Départements, 1897, pp. 187 et seq.).

Christ disputing with the Doctors, National Gallery ; ascribed to Leonardo, but in reality by Luini.

[The ascription to Leonardo has long been abandoned, and the picture now bears the name of Bernardino Luini.- Ev.]

A half-length of Christ. Père Dan mentions among the pictures of Leonardo preserved at Fontainebleau a Christ a mi-corps. Lépicié, again, says the king possessed such a picture. See also Mariette's Abecedario (vol. iii. p. 167). This picture, which has nothing to do with Leonardo, is now in the Museum at Nancy (engraved in the Magasin pittoresque for 1849, p. 288, with a commentary by the Marquis de

Chennevières). According to M. Durand- A very mediocre copy was brought to Paris Gréville it is a Flemish picture of the sixteenth in 1891, by some Russian or Hungarian dealers, century.

and offered as Leonardo's original sketch ! A Christ bearing the Cross, in the Liechten- The Last Supper was copied by the ininiastein Gallery at Vienna, is attributed by turists of the sixteenth century, as we may see Waagen to Cesare da Sesto. It is a hard, dull in a Book of Hours exhibited in the Royal picture, with a surface like yellow wax.

Library of Brussels. (Livre d'Heures de The Last Supper, Refectory of Santa Maria Hennessy.) delle Grazie, at Milan, vol. i., p. 177-200 ; vol. In a Notice d'un Haut-relief en bronze doré, ii., p. 109 Rep., vol. i., pl. viii.

représentant la Cène ou Cénacle, tableau de Head of Christ, Brera, Milan. Rep., vol. i., Léonard de Vinci, peint dans le réfectoire pl. ix.

du monastère des dominicains de Santa Maria The reader will understand how impossible it delle Grazie, à Milan (Odessa, 1890 ; small is to discuss all the copies made from the Lastfolio of 14 pages, with 6 photographs), M. P. Supper in the sixteenth century. Lists of the Kortschak attempts to prove that the relief in chief ones will be found in Bossi (Del Cenacolo question (which belongs to M. Peter Schoumdi Leonardo da Vinci, Milan, 1810), Guillon (Le lansky, at Kichiner) was modelled and chased Cénacle de Léonard de Vinci, Milan, 1811), and by Leonardo himself, and that the famous wallin Stendhal (Histoire de la Peinture, p. 152-154). picture was painted from it!

Heads of Apostles, Weimar Museum, vol. i., The Resurrection of Christ, Berlin Museum p. 191, note. See vol. i., pl. x.

(ascribed), vol. i., p. 53; cf. vol. ii., p. 182. Heads of Apostles, Strasburg Museum. Six Head of an Angel. Lost. Vasari tells us cartoons in colour after the heads in the Last that there was in the palace of the Grand Duke Subber. The head of Christ is beardless. Cosimo de' Medici a picture of an angel's head, These copies are very weak in expression, and with a raised arm, so painted and foreshortened Dehio, who has written a monograph upon from the elbow to the shoulder that it seemed them, hesitates to pronounce decisively upon to project from the picture, while the other arm their origin. He thinks, however, that they was folded upon the breast. According to might be referred to Boltraffio without much Vasari's editors, this picture was discovered temerity (Jahrbuch for 1896).

in Florence in a deplorable state, and sold Among the copies made for French amateurs, to a Russian. I may note : one made for the Cardinal Angels, full length, playing on musical d'Amboise (1510): “la Cène faicte en toille en instruments, National Gallery. These were grands personnaiges, que feu monseigneur fist acquired in 1898, from the Melzi collection, apporter de Milan” (Roman : Réunion des Milan, vol. i., p. 169 ; vol. ii., pp. 36-37. They Sociétés des Beaux Arts des Départements, 1883, are probably the work of Leonardo's assistant, p. 61-65). Francis I. caused a copy to be Ambrogio de Predis. One of the two, the made in tapestry (it is now in the Vatican); the one in profile, does not even show the LeonardConnétable de Montmorency another, on canvas; esque type, and the execution is entirely unlike this copy, formerly in the Château of Ecouen, is that of the central panel, the Madonna of the now in the Louvre. It has little merit. The Rocks. colour has a disagreeable red tone, and the Angel, in Lord Ashburton's collection. heads are hard and mean in expression. It Falsely ascribed to Leonardo, according to contains several variations upon Leonardo. Waagen (Treasures of Art, vol. ii. p. 99). The two side-walls have doors in them, but are S. John the Baptist, the Louvre, vol. ii., pp. otherwise quite bare, and without the happy 184, 211-212. Rep., vol. ii., pl. 26. Copies in the ornament of the original.

Ambrosiana and in the Naples Museum. Marco d'Oggiono's copy, formerly at the Cer- Imitations : in the collection of Mr. W. G. tosa, Pavia, now belongs to the Royal Academy Waters, London. The right arm raised on the of Arts. It hangs in the Diploma Gallery. left side of the head. New Gallery, 1893-1894 ;

Among copies unknown to Bossi I may men no. 193. In the Hewitson collection, the right tion one in the Ospedale Maggiore of Milan, arm raised on the right of the head. New painted by one Antonio da Gessate, at the Gallery, 1893-1894; no. 187. Miss Ffoulkes beginning of the sixteenth century (Arte e ascribes this picture to Salaino : Archivio Storia, 1890, p. 215; Archivio storico dell' storico dell' Arte, 1894, p. 255. Arte, 1890, p. 410); that of the Hermitage (no. S. Jerome in the Desert, vol. i., pp. 79, 81. 78 in the catalogue of 1891), and one at Ponte For replicas of this composition see Rigollot's Capriasca.

Catalogue, no. 6. The inventory of the pictures A copy by Cesare Magnis has been acquired preserved in the Palazzo del Giardino, at by the Brera (Archivio storico dell'Arte, 1890, Parma, in 1680, mentions a “quadro alto br. I p. 410).

on. 1, largo on. 10; un S. Girolamo con la mano

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