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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.

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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 hundred fold.

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

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APPENDIX

CATALOGUE OF THE WORKS OF

LEONARDO DA VINCI

A

NOTE

"CATALOGUE RAISONNÉ" of 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, Gault de St. Germain,2 Vallardi, Rigollot, 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 "Pietà" in 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.

2 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.

7 See Uzielli's Ricerche, 1st 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.

ΙΙ

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 jew 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

I

SUBJECTS TAKEN FROM THE BIBLE AND FROM THE LEGENDS OF THE SAINTS.

The Temptation of Adam and Eve, vol. i.,

p. 47.

The Annunciation, Louvre (ascribed), vol. i., pp. 45, 49-51.

The Annunciation, Uffizi (ascribed), vol. i., pp. 1, 50-51.

The Virgin and Child, Dresden (falsely ascribed), vol. i., p. 52, note.

The Virgin with the Pink, Munich (ascribed), vol. i., p. 51-52. Replica in the Louvre.

The Litta Madonna, or Vierge au Sein, Hermitage (ascribed), vol. i., p. 175-176. ReproReproduced, vol. i., pl. xii. This picture is usually considered identical with one which was in the house of Michele Contarini, in Venice, in the year 1543. Signor Frizzoni, however, calls attention to the fact that the Petersburg picture is larger than the one formerly in Venice (Notizie d'Opere di Disegno, pp. 225-226).

The Vierge aux Rochers, or Madonna of the Rocks, Louvre, vol. i., pp. 162–175, 211. Rep., vol. i., pl. vii. Besides the example in the National Gallery a certain number of other old copies or free repetitions of this Madonna are known. In the first place, we have the example acquired by M. Chéramy in 1897, at the Plessis-Bellière sale (canvas, 1 m. 55 cm. x 1 m. 25 cm. See the Réunion des Sociétés des Beaux Arts des Départements of 1890, and the Revue de l'Art ancien et moderne, of 1897, vol. ii., p. 405). This remarkable picture is a little rubbed in the carnations; the hands of the two children are retouched, and so are the feet of the Child Jesus. The Virgin's bodice shows a greenish tone, which seems suspicious, and we may say

the same of her yellowish drapery. In the distance, to the left, the dome of the Cathedral of Florence shows among the rocks.

Other copies exist in the Nantes Museum (Inventaire des Richesses d'Art de la France), in the Weber Collection at Hamburg (Woermann, Wissenschaftliches Verzeichniss der älteren Gemälde der Galerie Weber in Hamburg; Dresden, 1892, p. 86), in the collection of Madame Chaix d'Est-Ange, 22 Avenue du Bois de Boulogne, Paris.

The Naples Museum possesses a free and imperfect version, ascribed to Niccolò dell' Abbate.

A free copy, ascribed to Cesare da Sesto, figured at the sale of the Marchese Dof Genoa, in 1888. (Impresa di Vendite in Italia di Giulio Sambon, Catalogo della Collezione del Marchese D--, di Genova. Milan, 1888. No. 216, with a photograph of the picture.)

Another free copy of the central group, with an Annunciation to the Shepherds in the background, belonged some fifty years ago to the English (?) picture dealer Coesvelt (MüllerWalde, p. 117). For other copies see the Cicerone, seventh edition, p. 739 [and the Burlington Catalogue above quoted.—ED.].

The Holy Family of the Hermitage, original lost, vol. ii., p. 181. Rep., vol. ii., pl. xviii.

The Vierge au Bas-Relief, original lost, vol. ii., p. 181-182. The Earl of Carysfort has the copy ascribed to Cesare da Sesto, which was long at Gatton Park. It was exhibited at the Burlington Fine Arts Club in 1898. For other copies see Rigollot (p. 32-40).

The Madonna del Gatto, original lost, vol. ii., p. 183-184.

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 pamphlet devoted to the question.

a

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 Chrétien, vol. iii. p. 79), but not so by Waagen (Treasures of Art in England, vol. ii. p. 98-99).

Madonna 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 resembles 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.-ED.]

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 landThis picture once belonged to Charles Patin (Mariette, Abecedario, vol. iii. p. 167.Rigollot, Catalogue, no. 96).

scape.

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.-ED.]

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. DurandGréville it is a Flemish picture of the sixteenth century.

A Christ bearing the Cross, in the Liechtenstein Gallery at Vienna, is attributed by Waagen to Cesare da Sesto. It is a hard, dull picture, with a surface like yellow wax.

The Last Supper, Refectory of Santa Maria delle Grazie, at Milan, vol. i., p. 177-200; vol. ii., p. 109 Rep., vol. i., pl. viii.

Head of Christ, Brera, Milan. Rep., vol. i., pl. ix.

The reader will understand how impossible it is to discuss all the copies made from the Last Supper in the sixteenth century. Lists of the chief ones will be found in Bossi (Del Cenacolo di Leonardo da Vinci, Milan, 1810), Guillon (Le Cenacle de Léonard de Vinci, Milan, 1811), and in Stendhal (Histoire de la Peinture, p. 152–154). Heads of Apostles, Weimar Museum, vol. i., p. 191, note. See vol. i., pl. x.

Heads of Apostles, Strasburg Museum. Six cartoons in colour after the heads in the Last Supper. The head of Christ is beardless. These copies are very weak in expression, and Dehio, who has written a monograph upon them, hesitates to pronounce decisively upon their origin. He thinks, however, that they might be referred to Boltraffio without much temerity Jahrbuch for 1896).

Among the copies made for French amateurs, I may note: one made for the Cardinal d'Amboise (1510): "la Cène faicte en toille en grands personnaiges, que feu monseigneur fist apporter de Milan" (Roman: Réunion des Sociétés des Beaux Arts des Départements, 1883, p. 61-65). Francis I. caused a copy to be made in tapestry (it is now in the Vatican); the Connétable de Montmorency another, on canvas; this copy, formerly in the Château of Ecouen, is now in the Louvre. It has little merit. The colour has a disagreeable red tone, and the heads are hard and mean in expression. It contains several variations upon Leonardo. The two side-walls have doors in them, but are otherwise quite bare, and without the happy ornament of the original.

Marco d'Oggiono's copy, formerly at the Certosa, Pavia, now belongs to the Royal Academy of Arts. It hangs in the Diploma Gallery.

Among copies unknown to Bossi I may mention one in the Ospedale Maggiore of Milan, painted by one Antonio da Gessate, at the beginning of the sixteenth century (Arte e Storia, 1890, p. 215; Archivio storico dell' Arte, 1890, p. 410); that of the Hermitage (no. 78 in the catalogue of 1891), and one at Ponte Capriasca.

A copy by Cesare Magnis has been acquired by the Brera (Archivio storico dell' Arte, 1890, p. 410).

A very mediocre copy was brought to Paris in 1891, by some Russian or Hungarian dealers, and offered as Leonardo's original sketch!

The Last Supper was copied by the miniaturists of the sixteenth century, as we may see in a Book of Hours exhibited in the Royal Library of Brussels. (Livre d'Heures de Hennessy.)

In a Notice d'un Haut-relief en bronze doré, représentant la Cène ou Cénacle, tableau de Léonard de Vinci, peint dans le réfectoire du monastère des dominicains de Santa Maria delle Grazie, à Milan (Odessa, 1890; small folio of 14 pages, with 6 photographs), M. P. Kortschak attempts to prove that the relief in question (which belongs to M. Peter Schoumlansky, at Kichinef) was modelled and chased by Leonardo himself, and that the famous wallpicture was painted from it!

The Resurrection of Christ, Berlin Museum (ascribed), vol. i., p. 53; cf. vol. ii., p. 182.

Head of an Angel. Lost. Vasari tells us that there was in the palace of the Grand Duke Cosimo de' Medici a picture of an angel's head, with a raised arm, so painted and foreshortened from the elbow to the shoulder that it seemed to project from the picture, while the other arm was folded upon the breast. According to Vasari's editors, this picture was discovered in Florence in a deplorable state, and sold to a Russian.

Angels, full length, playing on musical instruments, National Gallery. These were acquired in 1898, from the Melzi collection, Milan, vol. i., p. 169; vol. ii, pp. 36-37. They are probably the work of Leonardo's assistant, Ambrogio de Predis. One of the two, the one in profile, does not even show the Leonardesque type, and the execution is entirely unlike that of the central panel, the Madonna of the Rocks.

Angel, in Lord Ashburton's collection. Falsely ascribed to Leonardo, according to Waagen (Treasures of Art, vol. ii. p. 99).

S. John the Baptist, the Louvre, vol. ii., pp. 184, 211-212. Rep., vol. ii., pl. 26. Copies in the Ambrosiana and in the Naples Museum.

Imitations in the collection of Mr. W. G. Waters, London. The right arm raised on the left side of the head. New Gallery, 1893–1894; no. 193. In the Hewitson collection, the right arm raised on the right of the head. New Gallery, 1893-1894; no. 187. Miss Ffoulkes ascribes this picture to Salaino: Archivio storico dell' Arte, 1894, p. 255.

S. Jerome in the Desert, vol. i., pp. 79, 81. For replicas of this composition see Rigollot's Catalogue, no. 6. The inventory of the pictures preserved in the Palazzo del Giardino, at Parma, in 1680, mentions a "quadro alto br. I on. 1, largo on. 10; un S. Girolamo con la mano

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