destra al petto, et alla sinistra vi ha un libro, di Leonardo da Vinci" (Campori, Raccolta di Cataloghi ed Inventarii inediti, p. 216–217).

S. Sebastian, sold to the Czar for 60,000 francs by M. Wolsey-Moreau, of Paris. See Charles Blanc (Gazette des Beaux Arts, 1861, vol. i., p. 65-74), and Morelli (die Galerien Borghese und Doria Pamfili in Rom (p. 87–88). This picture, which has nothing in common with Leonardo, has been discussed in connection with a drawing in the Vallardi collection in the Louvre, of a naked man holding a dog under his left arm (a pasticcio on the Faun with the Panther), which may well be by Pisanello.

S. Catherine. In 1650 the Modena Gallery exchanged a S. Catherine by Leonardo for a portrait by Titian (Venturi, La R. Galleria Estense, p. 243).

The S. Catherine of Louis XIV.'s collectionit now hangs in the chapel at Compiègne-is very commonplace in execution. The saint is seen to the waist between two angels; she holds a book. It has blackened a little in colour, and at most is a work of Leonardo's school.

The Daughters of Herodias ascribed to Leonardo are numerous, but none have any claim to be considered authentic.

I may say the same of the drawings and pictures representing the Magdalen (Rigollot, no. 49). The French Cabinet des Estampes has two engravings dealing with the subject: the one, signed "Ant. Riccioni inc.", represents the saint to the waist, full face, holding a vase in her right hand and supporting the folds of her robe with the left ("Ex originali tabula olim in ædibus Aldobrandinis "). The other is different, and shows the saint raising the lid of her pot of ointment. There is no indication of provenance.

The Rape of Proserpine. Cassiano del Pozzo, who was at Fontainebleau in 1625, speaks of this picture as very careful, but somewhat hard and dry in execution (Müntz and Molinier, Le Château de Fontainebleau au xvii siècle, Paris, 1886, p. 17). The figure of Proserpine, supported by Pluto, is, he adds, the best. Were it not for Del Pozzo's general trustworthiness, I should have here suspected him of some mistake. None of the other writers upon Fontainebleau allude to any Rape of Proserpine by Leonardo. Neither do the old biographers, Vasari among them, hint at such a subject having been treated by Da Vinci, and yet Del Pozzo's assertion is not entirely unconfirmed. De Pagave, who compiled a biography of Leonardo in the eighteenth century, speaks of a large drawing of a Rape of Proserpine which belonged to a member of the Melzi family, who caused it to be burnt by his chaplain (Amoretti, p. 112). It seems certain, then, that a drawing dealing with the same subject as the Fontainebleau picture, existed once at Milan (Chronique des Arts, 1898, pp. 266, 274, 275).

The Fall of Phaëton. According to Scannelli (1657), there was a picture of this subject in the Grand Duke of Tuscany's collection. The figures were very small, and the whole work was skilful and fantastic, although merely a sketch. It showed the extraordinary capacity of the master (Il Microcosmo della Pittura, pp. 140–141).

The Battle of Anghiari, lost, vol. ii., pp. 1214, 133, 136-152.

Vanity and Modesty, Sciarra Colonna Collection, Rome, now generally ascribed to Bernardino Luini. According to the catalogue, the Museum of Ajaccio (1830) has a replica of this picture (no. 540).

The Four Seasons. Here we have to do with a purely fantastic ascription, to be found in the inventory of Fulvio Orsini (vol. xvi.) "Quadretto picciolo corniciato d'oro conte quattro Stagioni, d'acquarella tocca di biacca, di mano del Vinci" (valued at 6 scudi). De Nolhac; Gazette des Beaux Arts, 1884, vol. i., p. 427, et seq.

Leonardo has sometimes been credited with the composition reproduced by Marc Antonio in his Triumph after Victory. But the latest and most authoritative of Marc Antonio's biographers, M. Delaborde, claims it for Sodoma (Marc Antoine Raimondi, pp. 202–203).

III PORTRAITS

Portrait of a Jeweller, Pitti Palace, seen to the waist, holding a jewel. By Rid. Ghirlandajo, according to the Cicerone.

Portrait of Marshal G. G. Trivulzio, once so called, in the Dresden Gallery. This has long

been recognised as a Holbein, representing Hubert Morett, an English jeweller [or the Sieur de Morette, a French gentleman who was at the English Court with Holbein.-ED.].

Portrait of the Cavaliere Morone, in the Casa Gallerati, at Milan, engraved in Rosini, vol. iv., p. 258. Not authentic.

The inventory (1743) of the Modena Gallery mentions "un quadro contenente un ritratto d'uno vecchio in mezza figura al naturale; opera di Leonardo da Vinci. Altro br. 1, on 3; largo, br. 1, on. 5." (Venturi, la R. Galleria Estense, p. 360.)

The Boy with a Tablet, exhibited at the Burlington Club in 1898 (no. 25 of the Catalogue). It was formerly in the collection at Hamilton Palace, and at the sale in 1882 was acquired by its present owner, the Earl of Carysfoot. It represents a naked boy, to the waist, holding up with a smile a double-hinged tablet [a sort of puzzle, which may well have been one of Leonardo's inventions.-ED.]. See Rigollot, no. 107, also Rio's Art Chrétien, vol. iii., p. 182. The workmanship points rather to Luini, some of whose frescoes offer similar types of children. Engraved by Bromley (1820).

The inventory of Fulvio Orsini (1600) ascribes several male portraits to Leonardo :

"Quadro corniciato d'oro, con un ritratto d'un giovine di casa Visconti, di mano di Leonardo da Vinci" (valued at 30 scudi).

"Quadretto corniciato d' hebano, di penna tocco di aquarella con la testa del Pico della Mirandola, di mano di Leonardo da Vinci (sc. 4)."-De Nolhac, Gazette des Beaux Arts, 1884, vol. i., p. 427, et seq. The same, La Bibliothèque de Fulvio Orsini. p. 33.

Portrait of Lodovico Sforza, Il Moro, lost, vol. i., p. 92.

Portrait of Beatrice d'Este, lost, vol. i.

I12.

p. 110

Portrait of Cecilia Gallerani, vol. i. p. 206-207. Portrait of Lucrezia Crivelli, vol. i., p. 207. Portrait of a young Princess, Ambrosiana, vol. i., p. 208-209. Rep. vol. i., pl. xiii. Portrait of a woman known as La Belle Ferronière, vol. i., p. xii.

Portrait of Isabella d'Este, cartoon, Louvre, vol. ii., p. 110-112. Rep., vol. ii., pl. 17. The so-called portrait of Isabella d'Este in the Tribuna of the Uffizi is ascribed by Frizzoni to a Veronese master (Archivio storico dell Arte, 1891, pp. 164-169).

Portrait of Mona Lisa, called La Joconde, Louvre, vol. ii., p. 157–164. Rep., vol. ii., pl. 22. Copies of the Mona Lisa are scarcely less numerous than those of the Last Supper. I may name the following:- Stuttgart Museum (no. 239, very mediocre); Munich Gallery (no. 1043, with dull carnations, which deprive it of

character); Madrid Gallery (no. 550, very smooth in execution and somewhat different in expression); Quimper Museum (according to M. Durand-Gréville; Tours Museum (two copies); Bourg-en-Bresse Museum (no. 133; 0,60 × o, 18 m.; a more or less free copy of the head only, brought from Italy in 1753, and presented by Baron Passerat de la Chapelle); Mozzi collection, Florence; collection in the Villa Sommariva, on the Lake of Como ; Torlonia Collection Rome; Bridgewater Gallery, London. Copies were in the collections of Sir Abraham Hume and of the brothers Woodburn, in London. A free copy belongs to M. Martin-Leroy, of Paris. M. Mercier, of Niort, possesses an oil picture on panel, in which Mona Lisa is transformed into a Magdalen (red hair, circular nimbus, the pot of ointment, a cross resting on her left arm). Though somewhat cold in colour, it is not without charm. The lower part of the picture has been repainted in parts. The landscape includes a lake, like the original, and the same rocks. The best parts are the face and the neck, which are clear and transparent in colour. Behind the figure is a balustrade with the bases of two columns, as in the Louvre picture.

The Milanese collector Vallardi owned a cartoon in which Leonardo's original was reproduced with some variations in the background, (Disegni di Leonardo da Vinci posseduti da Giuseppe Vallardi; Milan, 1855, p. 65, with an engraving). This cartoon was knocked down for 1000 francs at Vallardi's sale in Paris in 1861 (Gazette des Beaux Arts, 1861, vol. ix., p. 65). It is to be noted, however, that in the description of this drawing we are told of a wheel on which Mona Lisa's hands rest, while no attribute of the kind is to be discovered in the engraving published by Vallardi. [This may be a mistake on the part of the maker of the catalogue. In a drawing, presumably not in a perfect state, the framework of Mona Lisa's chair might easily be taken for a wheel. ED.]

A female portrait which offers some analogies with the Mona Lisa and also with the Bacchus (see vol. ii., p. 160) is known by various replicas (Chantilly, the Hermitage, the collection of M. Chabrières-Arlès, at Paris; Fesch collection. The Chantilly cartoon is the most important. See vol. ii., pl. xix. It is in Italian chalk, boldly heightened with white. It differs from the Louvre picture in that the head, there slightly turned to our left, is seen almost full. The positions of the hands and arms are almost exactly the same in both. The shoulders are narrow and the arms very large, defects accentuated in the heavily painted copy in the Hermitage. The person represented in this cartoon is bold, earthly, provoking; while

La Gioconda seems withdrawn into an atmosphere of her own, and unapproachable. The Hermitage picture has grey drapery and a landscape background; at each extremity of the balustrade there is a portion of a column. The face is sweet and smiling, reminding us of Luini. The arms, on the other hand, are much too large, like those of the Chantilly cartoon. The example belonging to M. Chabrières-Arlès (who bought it in 1890, at the Piot sale, for 800 francs) is thus described in the sale catalogue: "no. 567. Portrait of Catharina di San Celso. This Milanese lady, famous for her beauty, is represented nude to the waist, her elbow on the arm of a chair, her body turned three-quarters to our left, her face looking straight out of the picture. Her fair hair, slightly waved, is plaited and tied on the top of her head. A brown drapery passes over her right arm and goes round her waist. The hands, crossed one over the other, are exactly similar to those of the Mona Lisa in pose." Piot ascribed both his picture and the one at the Hermitage to Luini ; but there can be no doubt that they really proceed from the immediate entourage of Leonardo.

[Another version of the Chantilly and Hermitage pictures belongs to Lord Spencer, and was exhibited at the Burlington Club in 1898. Yet another, with a different background, belongs to Mr. Muir-Mackenzie, Q.C., of London.-ED.]

Anonymous portrait of a young woman (Rigollot, no. 58). The head droops. Her hair is partly arranged in a plait, which surrounds the head like a diadem; the rest falls in waves over her neck (Couché, Galerie du Palais Royal, vol. i. pl. 1). This portrait is now in the Bridgewater Gallery. It is generally ascribed to Luini.

Portrait of a woman, Augsburg Gallery (Rigollot, no. 65), facing the spectator. The best judges now agree to withdraw this portrait from the list of Leonardo's works (Woermann, Geschichte der Malerei, vol. ii. p. 551). To me it seems more like M. A. da Caravaggio than Da Vinci.

Laura celebrated by Petrarch, “drawn by Roger after the picture by Leonardo da Vinci in the Cabinet of the Citizen Masson, engraved by Massot." A handsome young woman, nude, seen front face to below the bust, no attributes, Leonardesque in type. I do not know what has become of this picture.

La Monaca, Pitti Palace (Rigollot, no. 66). There seems now to be a general agreement that this portrait is in the manner of Ridolfo Ghirlandajo. [Mr. Walter Armstrong ascribes it to Giuliano Bugiardini, as also does Mr. Berenson.—ED.]

Female Portrait, formerly in the Castelbarco collection. The ascription to Leonardo has now been superseded by that to Bernardino de' Conti, suggested by Morelli. (Italian Painters, vol. i. Borghese and Doria-Pamfili Galleries in Rome); Miss Ffoulkes's translation, p. 193. [This picture now belongs to Mrs. Alfred Morrison. It was at the Burlington Club Exhibition in 1898.-ED.]

So-called portrait of Joanna of Aragon, Doria Pamfili Palace, Rome, falsely ascribed to Leonardo (see Morelli, Italian Painters, vol. i. p. 311; Miss Ffoulkes's tr.].

Female portrait, Czartorisky Collection, Cracow. This panel (0 m. 56 cm. × om. 41 cm.) contains the portrait of a young woman, seen to the waist, and holding in her arms a weasel or ferret, or some other animal of the same family. Her look is frank and lively, but her features have a somewhat haggard cast. She is turned slightly to the right. Her fantastic head-dress is knotted beneath the chin and bound by a ferronière, whence the name by which the picture is generally known. A sort of white veil falls over her forehead. A necklace hangs down over her bosom, which the low-cut bodice leaves exposed. Her somewhat fantastic dress has large slashed sleeves. The right hand rests upon the little animal. Herr Müller-Walde does not hesitate to pronounce this portrait authentic. I have some difficulty in accepting his opinion. The insignificance of the expression and meanness of the execution are most unLeonardesque. The picture is reproduced in Graphischen Künste for 1892 (part v.), and in Rosenberg's Leonardo da Vinci, p. 44.

A mysterious female portrait which formerly belonged to Morelli, who left it to Madame Minghetti, has now found a home with Mr. Davis, an American collector. I only know it from a photograph. It would be rash for me to pronounce an opinion without having seen the original; but, upon such connoisseurs as have seen it, it has produced the effect of a modern forgery, or pasticcio.

Leonardo painted the portrait of a laughing woman. This portrait was copied by Fra Girolamo Monsignori, whose copy was in the Milanese "Zecca" in 1560 (Vasari, vol.vi.,p. 491).

Portrait of a young woman known as Colombina, Hermitage; formerly in the Palais Royal collection. A young woman, seated, nude to the knees, holding in her right hand a campanula, or some such flower, on which her eyes are fixed. Her left hand lies on her knees, and holds a bouquet of the same flowers. Ascribed to Solario by Crowe and Cavalcaselle and Clément de Ris ; to Luini by Bruiningk and Somoff, who give a photogravure of it in their Catalogue de la Galerie des Tableaux (S. Petersburg, 1891).

The inventory of Fulvio Orsini mentions a "quadretto corniciato d'oro, con una donna che dorme et una figura che tiene nelle mani il pastorale et la palma, di mano di Leonardo da Vinci,” valued at 15 scudi (De Nolhac : Gazette des Beaux Arts, 1894, vol. i., pp. 427 et seq.).

A fantastic composition, chiefly known by Agostino Veneziano's engraving-three grotes

que individuals, seen to the waist -is commonly ascribed to Leonardo. But a glance at this print, with its date of 1516 (when Leonardo was still alive), is enough to convince us that it reproduces a Flemish, and not an Italian, original. The Italian inscription "chi non ci vol veder si cavi gli occhi"- and the monogram L.D.V. must not be allowed to mislead us.

B

S. Jerome, vol. i., p. 159. Bust of S. John the Baptist, in terra cotta, in the South Kensington Museum. Ascribed to Leonardo, vol. i. pp. 49, 57.

The equestrian statue of Francesco Sforza. Destroyed, vol. i., pp. 143-156, 160, 213, 221; vol. ii., pp. 5, 109, 240

The equestrian statue of Marshal Trivulzio, vol. i., pp 156-157.

Discord. Bas-relief in the South Kensington

Museum. A false attribution, vol. i., pp. 22, 158-159.

A bas-relief with some points of analogy with the South Kensington Discord was discovered in the Carmine, at Venice, by Dr. Bode. The subject is a deposition from the Cross, and the whole is very supple and free in modelling. In one corner kneel two donors, the man at once showing a likeness to Francesco Sforza and, by his broken nose and haughty eyes, to Federigo d'Urbino; the lady is of a liberal scantling. (Archivio storico dell' Arte, 1893, p. 77-84; see also above, vol. i., p. 22.)

Scipio. School of Leonardo. lection. Reproduced, vol. i., pl. v.

Rattier col

No complete critical study of Leonardo's drawings has yet been made. The few efforts in that direction, those of Morelli (Die Galerien Borghese und Doria-Pamfili in Rom, p. 225227), Lübke, (Geschichte der italienischen Malerei, vol. ii., p. 79), and Frizzoni (Arte e Storia, 1888, p. 71) deal only with a small number of examples. Sig. Uzielli's catalogue, again, is confined to the drawings at Turin, Venice, and Florence (Ricerche, vol. ii., p. 257, et seq.). As for Weigel's catalogue (Die Werke der Maler in ihren Handzeichnungen; Leipsic, 1865, p. 346362), it is no more than a mere enumeration of those drawings ascribed to Leonardo which have been reproduced by engraving or photography; no attempt is made to separate the wheat from the tares.

This lack of preparatory material gives me the right to beg the reader's indulgence for the attempt at a catalogue I here venture to submit.

I have done all I could to make it complete and definitive, but, seeing how novel the attempt is, I have to put forward my conclusions with

extreme reserve. Nothing is more difficult than to draw the line between Leonardo's own drawings and the innumerable copies made in his studio or by his more or less immediate disciples. He sometimes appears to have even made copies himself of his own drawings.

Many drawings, not by himself, reproduce, no doubt, originals which have been lost, and so must be taken into serious consideration.

I must point out, too, that many authentic drawings have been more or less retouched, which may have led certain critics to take them for copies.

Few names have been more popular with forgers of every kind than that of Da Vinci. Whole collections of bogus Leonardos were created in the eighteenth century. His caricatures, especially, were copied and imitated on a vast scale. A series of pen drawings, passing under his naine, was sold for 1,650 francs at the A. . . . sale in 1879. It was engraved by Caylus (Roger Portalis and Beraldi, Les Graveurs du dix-huitième Siècle, vol. i., p. 343).

In cataloguing Leonardo's drawings I have adopted the following classification: - Old Testament Gospels History of the Saints -Mythology and History-Standing figures -Heads of children, youths, men, old men, women-Grotesque heads-Animals, flowers,

FLORENCE.

The Uffizi.

landscapes Fragments and various subjects.

In order to keep the size of this volume within bounds, I have only described such drawings as do not already figure in some easily accessible catalogue.

The drawings in the Uffizi have been described by Léon Lagrange (Gazette des Beaux Arts, 1862, vol. xii. p. 546-548); by Nerino Ferri (Catalogo delle Stampe e Disegni esposti al pubblico nella R. Galleria degli Uffizi, p. 25-28) Florence, 1881, and Disegni antichi e moderni posseduti dalla Galleria degli Uffizi, part iii. p. 161-165 Rome, 1894; and by Uzielli (Ricerche, 1st ed., vol. ii. p. 262–269). According to Morelli, only five of the Uffizi drawings are authentic, those numbered 423, 436, 446, and 449, and the landscape dated 1473. But this assertion has been refuted by Ferri, who has proved that many drawings thus rejected as false bear notes in Leonardo's handwriting.

No. 421. Madonna, the Child holding a cat (Braun, no. 447). A forgery, according to Morelli; but I agree with Ferri in accepting this drawing as authentic; it is most refined in execution.

No. 422. Madonna, the Child sitting on his mother's lap and raising his left hand. Nothing in common with Leonardo (Braun, no. 440).

No. 430. Madonna, seen to the waist, the Child upon her knees (Braun, no. 440). Doubtful.

No. 426. Study for the head of S. Anne in the cartoon belonging to the Royal Academy, London (Braun, no. 436). See vol. ii., p. 128.

No. 436. Study for the Adoration of the Magi, vol. i., pp. 61-70.

No. 435. Fight between a lion and a dragon (Braun, no. 451). This drawing seems to be a Leonardo, but has been heavily re-touched. There is a copy or replica in the Staedel Institute at Frankfurt-a-M. An engraving of a fight between a lion and a dragon, having analogies with Leonardo's drawing, was published in 1892 by the International Chalcographical Society (no. 6). An engraving of the same subject by Zoan Andrea is in existence (Passavant, vol. v., p. 84).

No. 150. Sketch for a combat of horse; has to do with the Battle of Anghiari.

No. 8950. Study for a horseman fighting; has to do with the Battle of Anghiari. Doubtful. No. 204. Nude figure, seen to the waist; VOL. II.

architectural notes and little figures; on the reverse, sketches of machines.

No. 447. Man standing, seen from behind; he wears a biretta. Two heads in profile, a dragon's head, and various sketches of machines, with notes in Leonardo's writing.

No. 432. A naked child, with puffy cheeks, sitting on the ground; its arms raised. Gouache. In the manner of Mantegna. Nothing in common with Leonardo (Braun, no. 433). On the back, A Virgin suckling the Child Jesus.

Heads in profile. Red chalk. Later than Leonardo, and not even of his school (Braun, nos. 443-446).

No. 208. Portrait of Francesco Sforza, Count of Pavia. Attributed to Ambrogio de Predis by Morelli and Ferri.

No. 440. Profile head of a man, turned to the right.

No. 449. Profile head of a beardless man, turned to the right.

No. 427. Bust of a young man, head in profile, turned to the right; a biretta on his head. On the back, bust of a young woman, profile resembles the portrait numbered 419 (Braun, no. 449). Doubtful.

No. 423. Old man, seen to the waist, and profile of a young man, facing each other. Red chalk (Braun, no. 450).

No. 424. Head of a bald and beardless old man, profile to the left (Braun, no. 438); reproduced, vol. i. p. 9.

No. 442. Head of a bald old man, closely shaved; profile to the left. Manner of Leonardo. No. 446. Profile heads of an old and a young man, with the date 1478. Reproduced, vol. i., p. 48.

No. 414. Bust of a young woman, the arms crossed, the curled hair kept in place by a toque (Braun, no. 434). Doubtful. Rather Florentine than Milanese.

No. 419. Portrait of the Marchesa Isabella d'Este. Red chalk (Braun, no. 442). A heavyhanded copy of the drawing in the Louvre (see vol. ii. pl. 17). The refinement of the modelling has entirely disappeared. Another copy (no. 209) is done in black chalk and wash on yellowish paper. Two other copies in red chalk are in the print room at Munich.

No. 425. Young woman, full face, seen to

K K