the bust, the eyes dropped, the nose rather short, the chin square, the wavy hair very slightly indicated. Greenish paper (Braun, no. 435). Reproduced, vol. i., pl. 3.

No. 428. Head of a young woman, with long hair. According to Bayersdorf this is a study for the Virgin in the Louvre Annunciation; according to Wickhoff, a juvenile work of Verrocchio; according to Morelli, a Flemish imitation of Verrocchio.

No. 429. Three-quarters head of a young woman, the eyes cast down, a veil over the forehead. School of Leonardo (Braun, no. 441).

No. 431. Three-quarters head of a young woman, drooped towards the right. Certainly not by Leonardo (Braun, no. 432; Rosenberg, Leonardo da Vinci, p. 98).

No. 44. Veiled head of a woman; manner of Leonardo.

No. 8949. Head of a woman, in profile.

Doubtful.

No. 420. Study of drapery for the lower part of a kneeling figure (Braun, no. 447). Doubtful. Should be compared with the Louvre drawing no. 182, Braun.

No. 433. Study of drapery for the lower part of a standing figure, facing to the front (Braun, no. 430).

No. 434. Study of drapery for a semi-nude kneeling figure, turned to the left (Braun, no. 431).

No. 437. Study for the lower part of a seated figure; one leg crossed upon the other. To be compared with no. 422 (Braun, no. 437).

No. 202. Three studies of men's legs. Doubtful.

No. 203. Studies from skeletons.

Doubtful.

No. 8. Landscape, dated 1473. Pen (reproduced, vol. i., p. 29).

MILAN.

Biblioteca Ambrosiana.

many

The Ambrosiana, which boasts so souvenirs of Leonardo, is certainly one of the poorest of all collections in authentic drawings by the master. Among the numerous drawings in red chalk, in silver point, in Italian chalk, and in ink, which are exhibited as the work of Da Vinci (several of them bearing notes in Leonardo's handwriting) scarcely more than five or six can justify their pretensions. Morelli, with whom I am happy to be for once in agreement, puts the total of genuine drawings at ten. rest are the work of forgers and copyists, who have set themselves with misplaced ingenuity to imitate the founder of the Milanese school. We must note that this collection seems to have been formed at the same time as the socalled Vallardi album, of the Louvre. The

The

same discordant elements are found in both, drawings by Pisanello, for instance, elbowing those by da Vinci. The same combination occurs in the Duke of Devonshire's collection at Chatsworth.

The collection of drawings formed by Padre Resta, also in the Ambrosiana, is open to still more serious criticism. I doubt whether it contains more than six original drawings; and in giving even this small total, I am speaking generously. The rest of the collection is made up of coarse pasticci, executed, apparently, at the end of the seventeenth, or beginning of the eighteenth centuries, after the chief masters of the Renaissance. The "Indice del Libro intitulato Parnaso de' Pittori, in cui si contengono varj Disegni originali raccolti in Roma da S. R." (first ed. 1707; second ed., Perugia, 1787, pp. 29, 33, et seq.), contains descriptions of several Leonardo drawings inserted in the collection. This work suggests the question, 'Was the Rev. Father Resta dupe or duper?' (See the Lettere artistiche inedite, published by the Marchese Campori, p. 476, et seq.)

Resta plumed himself on possessing the portrait of the Prior of Santa Maria delle Grazie (Indice, p. 33, second ed., Perugia, 1787). I do not know what has become of it.

Most of the Ambrosiana drawings have been engraved, and published by Gerli (1784, a new edition in 1830). They have also been photographed by Marville, Brogi, and Braun.

I. Head of the Virgin, inclined (Saint Anne). Black chalk. Doubtful. (Braun, no. 66.)

II. The Virgin sitting on the ground before the Infant Christ. False (Braun, no. 88).

III. Head of the Virgin, inclined. Study for the Virgin's head in Solario's Vierge au Coussin vert (Braun, no. 90).

IV. Head of the Virgin and study of the Infant Christ for the Vierge aux Rochers (Braun, no. 31).

V. The Infant Christ seated, facing the spectator, and holding a cat. Red chalk (Braun, no. 47).

VI. Three-quarters head of a child, turned to the left. Recalls the studies for the Infant in the Saint Anne (drawing at Chantilly). Gerli, pl. xlv; vol. ii., p. 129.

VII. Studies from the heads of S. Peter and Judas. Red chalk. False (Braun, no. 63). VIII. The Dead Christ, half-sitting. False (Braun, no. 87).

IX. Head of an angel. Study for the angel in the Vierge aux Rochers, inscribed, “Lucido dell' originale smarrito" (Gerli, pl. xxi, Braun, no. 27).

X. Torso of S. Sebastian, red chalk. False (Braun, no. 77).

XI. Study for S. Jerome (Braun, no. 26).
XII. Study for a head of Leda, three-quarters

to the left, the eyes drooped. Red chalk. Doubtful.

XIII. Two studies for a fight between a horseman and a dragon. False. (Braun, no. 43.)

XIV. A horseman in his saddle armed cap-àpie, his visor down and his lance "carried"; red chalk (Braun, no. 49). Has nothing to do with Leonardo. Some critics have seen in this heavy man-at-arms, with closed visor and carried lance, a reproduction of the famous equestrian statue. But even if we accept the drawing as by Leonardo-which I do not-it cannot be a sketch for a monumental statue. The mere fact that the horseman's face is masked by his visor shows that it can have nothing to do with Sforza's project for the glorification of his family.

XV. Galloping horses. Recalls the wild cavalcades of Raphael at Oxford and Lille (Gerli, pl. xii.). Part of the male figure turned to the right recurs in Dr. Richter's plate ix. XVI. Male figure seated. Probably by Filippino Lippi. (Gerli, pl. iv.)

XVII. Figure of an old man, nude, bent forward, his right arm outstretched, his left holding a staff. Mr. Müller-Walde sees a connection between this figure and the S. Jerome painted about 1475, by Perugino, in the Crucifixion of the church of San Giovannino della Calza, at Florence. But the identity of motive is not striking; S. Jerome lays his hand upon his breast to declare his veneration. Leonardo's figure, on the contrary. stretches his out, to point to someone or something. (Braun, no. 41.) Should be compared to the Windsor drawing numbered 47 in the Grosvenor Gallery Catalogue.

XVIII. Nude man, seated, seen in profile, his head in his hands. (Braun, no. 40.)

XIX. Two standing male figures, nude; no heads. A lion, red chalk. False. (Braun, no. 83.)

XX. Standing male figure, nude, the left arm resting on the hip, head in three quarters profile. Recalls the drawing after Michelangelo's David (see vol. ii., p. 137), except that in the David the left arm is bent upon the breast, and the head shown in profile. (Gerli, pl. xix).

XXI. A woman kneeling, undraped; a satyr attacking a goat. False. (Braun, no. 42.)

XXII. Head of a child, turned three-quarters to the left. False. (Braun, no. 29.)

XXIII. Bust of a child, with long hair; front face. False. (Braun, no. 102.)

XXIV. Profile of a child, turned to the right. Portrait of the young Maximilian Sforza. Has to do, as Morelli pointed out, with the Family of Lodovico Sforza in the Brera (see vol. ii. p. 41), ascribed to Zenale. (Gerli, pl. xvii ; Braun, no. 38.)

XXV. Young man with a beard and disordered hair, in profile to the right. Red chalk. Doubtful. (Braun, no. 61.)

XXVI. Portrait of a man, to the waist, almost full face; long falling hair; soft hat, with turned up brim. An unpleasant face, in which I have some difficulty in recognising the hand of Leonardo. (Brogi, no. 6303; Braun, no. 104.)

Red

XXVII. Portrait of a man, beardless, seen in profile, wearing a hat; turned to the left. chalk. False. (Braun, no. 62.)

XXVIII. "Lo retrato de lo ilustre signore Prospero Cholona generoso chapitadeo generale de tuto lo exercito de la Cesarea Maiestade de lo Imperio fato in Papia in chasa de la Magnica Madona Leonora Vesconte (?) l'ano de la (?) 1523." This date is enough to exclude Leonardo as the possible author of this dry and poor drawing. It is possibly not even Italian. Red chalk. (Braun, no. 79.)

XXIX. "Retrato del generoso signore Marchese de Peschara, Chapitaneo de Hôm'i d'arme ispaney. Retrato in Placentia in la citadela, a la tabula del Reverendissimo Episcopo et Gubernatore de Placentia, Monsignor Gorra, in sabato el di secondo de zenaro del 1524." Red chalk. (Braun, no. 80.) Same observations as above, no. XXVIII.

XXX. Head of a beardless man; profile to the left; he wears a biretta. Red chalk. False. (Braun, no. 78.)

XXXI. Bust of a beardless man, with bare neck; three-quarters to the right. Red chalk. False. (Braun, no. 76.)

XXXII. Study of a beardless head, turned three-quarters to the right. (Braun, no. 101.) This is a study by Filippino Lippi for his Adoration of the Magi in the Uffizi. It is the last figure but one on the right, in the foreground.

XXXIII. Head of a man of mature age, turned three-quarters to the right; he wears a forked beard, and his hair is in disorder. The same head in profile. (Gerli, pl. iv, xv.)

XXXIV. Profile head of a man, with a sneering smile; he wears a biretta. Red chalk. (Braun, no. 68)

XXXV. Bust of a man, in profile to the right; laurels about his head, and his breast covered by a cuirass. Doubtful. (Braun, no. 35.)

XXXVI. A beardless man, his hair on end; profile to the left. Red chalk. (Braun, no. 48.) XXXVII. Portrait of Leonardo himself; profile. (Braun, no. 45.) Copy of the Windsor portrait.

XXXVIII. Supposed portrait of G. Leno. Red chalk (Braun, no. 84.) (See vol. ii., p. 196.)

XXXIX. Head of a beardless and bald old man, with prominent nose and chin; profile to the right. Doubtful. (Gerli, pl. xxxii.)

XL. Old man's head, beardless, the head covered with a kind of hood; profile to the right. Doubtful. (Braun, no. 37.)

XLI. Portrait of an old man, by Francesco Melzi. (Braun, no. 54.) (See vol. ii., p. 209.) XLII. A beardless old man, with thick hair ; full face, the eyes raised. Red chalk. (Braun, no. 58.)

XLIII. Head of a beardless old man, with thick hair; turned three-quarters to the left. False. (Braun, no. 89.)

XLIV. Three-quarters head of a bald and beardless old man, with a hooked nose. "Ritratto del m2 di cam. del Re Franc." The same head appears, in full face, in a drawing in the Royal Library at Turin. Red chalk. (Gerli, pl. xxxii. Braun, no. 81.) See vol. ii., p. 205.

XLV. Head of a young woman, threequarters profile to the right; wavy hair, a double necklace about her throat. Silver point. Good drawing of the Milanese school. (Braun, no. 33.)

XLVI. Profile head of a young woman, turned to the right. Doubtful. (Braun, no. 36.)

XLVII. Head of a young girl, full face. Either a free copy or the original of the socalled head of Bacchus preserved in the Accademia at Venice. It is without the crown of vine leaves, however, and the hair is more curly. (Brogi, no. 7407; Braun, no. 50.)

XLVIII. Bust of a young girl, front face. Red chalk. (Braun, no. 52.)

XLIX. Head of a young woman, threequarters profile to the left. Silver point. Doubtful. (Braun, no. 28.)

L. Female portrait, profile to the left, the hair hanging in loops. Red chalk. Doubtful. (Braun, no. 55; should be compared with Braun, no. 65.)

LI. Two heads and two busts of young women, profile and front face. Red chalk. False.

LII. Three heads of young women, two in profile, one front face; a grotesque head; a woman shown to the waist. Red chalk. False. (Braun, no. 57.)

LIII. Head of a young woman, three-quarters turned to the left. Unfinished. Red chalk. (Braun, no. 59.)

LIV. Bust of a young girl, undraped, front face, the eyes raised. Red chalk. Nothing to do with Leonardo.

LV. Three-quarters head of a young woman turned to the left. Red chalk. Doubtful. (Braun, no. 85.)

LVI. Two heads of women or angels. Red chalk. Not by Leonardo; in the manner of Ghirlandajo. (Braun, no. 86.)

woman

LVII. Three-quarters head of a turned to the right. Red chalk. (Braun, no. 25.) LVIII. Female portrait, front face, seen to

the waist, the eyes cast down. Sometimes called the Marchesa Isabella d'Este. Doubtful. (Braun, no. 105.) Vol. ii., p. 246.

LIX. Profile portrait of a woman, similar to no. lv. False. (Braun, no. 65.)

LX. Three profiles of young women and two of old men ; grotesques. Pen. Doubtful. (Braun, no. 100.)

LXI. Grotesque heads. False. (Braun, no. 44.)

LXII. Grotesque heads, in profile to the right. Red chalk. False. (Braun, no. 46.)

LXIII. Grotesque head of an old man, beardless, bald, with atrophied chin. Red chalk. (Braun, no. 51.)

LXIV. Seven grotesque heads and the head of a young girl. Red chalk and false. (Braun, nos. 69-75.)

LXV. Grotesque head of a man, receding brow, the lips enormous; profile to the right. Red chalk. Doubtful. (Braun, no. 67.)

LXVI. Sixteen grotesque heads. Pen. Doubtful. (Braun, nos. 91–99.)

LXVII. Grotesque head of an old woman, three-quarters to the right. Copy of the head which figures in the sheet of five caricatures reproduced vol. i., p. 249. (Gerli, pl. xxvi.)

LXVIII. Hand holding a baton. Copy of the drawing in the Royal Library at Turin. (Braun, no. 39.)

LXIX. Study of a torso and legs. Red chalk. False. (Braun, no. 82.)

LXX. Two rearing horses. Horse seen from behind, etc. Red chalk. False. (Braun, no. 64.) LXXI. Head of a horse, three-quarters to the left. False. (Braun, no. 103.)

LXXII. Three horses' heads. Copy of the engraving in the British Museum.

The Codex Atlanticus only contains a small number of figure-drawings. On the other hand, sketches of machines and of ornaments of all kinds are sprinkled lavishly over its pages; they are rapid sketches, showing extraordinary certainty of intention and facility of hand. A certain number of false drawings seem, however, to have found their way among them.

ROME.

Borghese Gallery.

Head of a young woman, front face, the head slightly drooped, the hair knotted up at the height of the ear. (Braun, no. 43082.) This portrait and that in the Ambrosiana appear to me to reproduce the same model. (Rosenberg, Leonardo da Vinci, p. 94-96.)

TURIN.

The Royal Library.

The drawings in this collection were reproduced in 1888 by Signor Carlevaris (I disegni di

Leonardo da Vinci della Biblioteca di S. M. riprodotti in Fototipia da Pietro Carlevaris). They are described in Uzielli's Ricerche, vol. ii. p. 269-272.

I. Portrait of Leonardo, front face, red chalk. (A copy in the Accademia at Venice; frontispiece, vol. i.)

II. Study for the angel in the Vierge aux Rochers. See vol. i., p. 164.

III. Head of a beardless man, full face, with indication of measurements; lower down, an eye. Pen; autographic notes on the dimensions of the different features. (Uzielli, no. 4.)

IV. Study of two male figures, seen from behind, one holding a sword; muscles very strongly marked. At the side, smaller nude figures, one with a hand upon his hip, another with a hand upon the head of a child. Lower down, a man, in profile, wielding an object which it is impossible to identify. Finally, three horses, one rearing; the second, with a cavalier on his back, walking; the third, also bearing a rider, galloping. Study for the Battle of Anghiari. Pen. (Uzielli, no. 7.) See vol. ii., pp. 149 (note), 153.

V. Two eyes. Autographic notes. Pen.

(Uzielli, no. 6.)

VI. Studies of legs for standing figures. Pen. (Uzielli, no. 8.)

VII. Fragmentary studies of horses. Silver point.

VIII. Studies of horses. Fore-legs. Silver point. (Uzielli, no. 9.)

IX. Studies of horses. Quarters and hind legs. Red chalk. (Uzielli, no. 10.) These hind quarters of horses should be compared with those at Windsor. See vol. ii., p. 274.

with

X. War machines, chariots armed scythes and drawn by two horses each. The one above moves to the right, the one below to the left. Autographic note. Sepia. (Uzielli, no. 13.)

XI. Two insects. Pen. (Uzielli, no. 11.) XII. Bust of a beardless man, in profile, turned to the right; extremely vigorous in expression, a laurel branch about the head. Red chalk. The same head, but without the laurel, is to be found at Windsor (Grosvenor Gallery Catalogue, no. 20). In the Turin drawing the expression is more trenchant; this is perhaps the later drawing of the two. (Uzielli, no. 5.) Reproduced, vol. i., p. 233.

XIII. Three heads of the Apostles, for the Last Supper (heads of Orientals, according to Dr. Richter, pl. cxx.); the head to the left in profile, the one in the centre three-quarters, the one to the right full face. Red chalk. (Uzielli, no. 3.)

XIV. A bald and beardless old man, nude to the knees; he is seated, has an ample cloak about him, and extends his right hand. Red

chalk. The same figure occurs at Windsor. (Grosvenor Gallery Catalogue, no. 64.-Uzielli, no. 14.)

XV. Head of an old man, bald and beardless the nose hooked at the end. Red chalk. The same model as in the drawing published by Gerli, pl. xxxii. (Uzielli, no. 15.)

XVI. Bust of a young man or young woman, the head bent, the eyes drooped; long hair, retained by a fillet. Red chalk. A copy. (Uzielli, no. 16.)

XVII. Head (of Bacchus?) with a wreath of vine leaves. Silver point. School of Leonardo. (Uzielli, no. 17.)

XVIII. Study of a hand holding a baton. (Müller-Walde, fig. 56.) The original of the drawing (no. Ixviii.) in the Ambrosiana.

VENICE.

Accademia delle Belle Arti.

The drawings in the Venetian Academy are described, but without much attempt at criticism, in the Marchese Selvatico's Catalogo delle opere d'arte contenute nella Sala delle Sedute del? I. R. Accademia di Venezia (Venice, 1854); and in the Catalogue des Dessins originaux de Raphael, Léonard de Vinci, etc. etc., conservés à l'Academie des Beaux Arts à Venise et exécutés en photographie par Antoine Perini (Venice, 1865, nos. 171-191). They have been photographed by Perini, Braun, and Naya, and catalogued in Uzielli's Ricerche (vol. ii. p. 273–282).

The nucleus of the collection belonged successively to Cardinal Cesare Monti, to de Pagave, by whom it was considerably augmented, to Bossi, the author of Del Cenacolo, and finally, to the Abbé Celotti, who sold it to the Austrian Government for the Venetian Academy.

I. Study of the Child Jesus for the Louvre Saint Anne. Red chalk. Identical with the drawing engraved in Gerli's plate ix, except that here the two children, instead of being placed below the fragments of feet, hands, arms, heads and torsoes, which fill the rest of the paper, are placed above them. Much less rude in execution than the drawing shown by Gerli. In the Chantilly drawing the undraped female torso (study for the figure of the Virgin) is wanting. This drawing bears an autographic note by Leonardo on the back. (Braun, no. 41; see also the Gallerie nazionali italiane, vol. ii. p. 44. See vol. ii., p. 129.

II. Study for the Saint Anne. Pen. See vol. ii., p. 127. (Bossi, Del Cenacolo, p. 231; Braun, no. 39.) III. Study for the head of S. Anne. Red. chalk. Doubtful. (Braun, no. 42.)

IV. Saint Anne, similar to the Louvre picture. Red chalk, not by Leonardo. (Braun, no. 40.)

V. Head of Christ, bent, apparently, under the weight of the cross; three-quarters face; beard rather long, flowing hair; haggard expression. Silver point, on greenish paper. See vol. i., p. 88. (Braun, no. 53.)

VI. Study for the Last Supper, autographic notes. Red chalk. See vol. i., p. 185. (Braun, no. 58.)

VII. A naked child seated on the ground; bust profile of a beardless man, with long hair, hooked nose, and high cap (the Emperor Maximilian); the profile of a young woman, turned to the left, wearing a kind of turban and a necklace about her throat. Greenish paper. A beautiful and refined drawing, but in reality the work of Cavallari, who copied the original by Ambrogio de Predis. See vol. i., p. 104. (Gerli, pl. iii*; Braun, no. 55.)

VIII. Three women dancing, with the head of a fourth. Pen. Archaic, with involved draperies. Recalls Verrocchio, but is more refined. See vol. i., p. 36. (Braun, no. 49.)

IX. Head of a beardless old man, seen in profile; for the Battle of Anghiari. (See vol. ii., p. 133.) (Braun, no. 46.)

X. Various sketches for the Battle of Anghiari. (Richter, plate liii-lv.) See vol. ii., p. 148.

XI. Male figure, nude, standing in a circle, the arms stretched out to the circumference. Long notes above and below in the handwriting of Leonardo. See vol. i., p. 241.

XII. Three-quarters head of a beardless young man, turned to the left, the hair in disorder. Red chalk. (Braun, no. 54.)

XIII. Full-face portrait of Leonardo. Red chalk. Probably copied from the one at Turin. (Braun, no. 44.)

XIV. Bust in profile of an old, bald, and

The Louvre.

beardless man, turned to the right. Some indications of measurements. Should be compared with the drawing at Windsor (Richter, pl. li.). At one side the profile, to the waist, of a naked man, with a suggestion of drapery on the shoulder. Pen and chalk. (Richter, pl. ix. Braun, no. 38.) The naked male figure is copied in red chalk in a drawing in the Ambrosiana. (Gerli, pl. ii*.)

XV. Head of a young woman (study for a Madonna); three-quarters view, turned to the right, the eyes looking down. Red chalk. (Braun, no. 47.)

XVI. Bust, front face, of a young woman, with long hair, and crowned with vine leaves (Bacchus?). Too weak for Leonardo; seems to me rather the work of a pupil. (Braun, no. 52; C. Brun, Leonardo da Vinci, p. 13.)

XVII. Grotesque head of an old man, with deformed mouth and nose. Pen. (Gerli, pl. v*; Braun, no. 48.)

XVIII. Caricatures. Seven heads in profile, three of them side by side. Pen. (Braun, no. 50.)

XIX. Caricatures. Five heads, four in profile and one a three-quarters view. Pen. (Braun, no. 51.)

XX. Caricature. Head of a woman, in profile to the left. Red chalk. Doubtful. Monogram formed of a D, an L, and a V. (Gerli, pl. v*; Braun, no. 56.)

XXI. Anatomical studies. A torso, a head in profile, a leg. (Braun, no. 38.)

XXII. Anatomical study. A pair of shoulders and arms. Pen. Very doubtful. (Braun, no. 53.) XXIII. Cavalier attacking a foot soldier, who defends himself with the help of a conical shield. Various arms. Pen. (Gerli, pl. vii*.)

The Louvre drawings have been for the most part described in the catalogue of M. Reiset, in those of M. de Tauzia (Notice des Dessins de la Collection His de la Salle, 1881. Dessins Notice supplémentaire, 1887. Deuxième Notice supplémentaire, 1888), and in the Catalogue sommaire des Dessins exposées dans les Salles du premier et du deuxième étage.

I. Samson and the Lion. Pen drawing, more akin to the school of Raphael than to that of Leonardo. Portfolios, 2519, 1643.

II. Madonna and Child. His de la Salle collection, no. 101, ascribed to Raphael by de Tauzia and Morelli (Die Galerien Borghese und Doria Pamfili, p. 197). M. de Tauzia points out the analogy between this study and the Leonardo drawings in the British Museum.

III. Head of Saint Anne. After the picture in the Louvre. (Cat. Reiset, no. 393.) Ascribed to Daniele da Volterra. (Braun, no. 213.)

IV. Study for the drapery of the Virgin in the Saint Anne. (Cat. Reiset, no. 391.) According to Reiset this drawing has been worked upon by a more modern hand. Reproduced, vol. ii., pl. 18.

V. Virgin seated, holding the Infant Christ; in front the little S. John mounted upon a lamb. Another figure lower down. Nothing to do with Leonardo. (Braun, no. 189.)