by Zoan Andrea (Le Peintre Graveur, vol. v., p. 81).

II. Portrait of an aged man, beardless, threequarters to the front, a bull-dog's face, a most truculent expression. On the reverse is a fragment of a profile (the nose, the mouth, the chin, and the beginning of the throat, a study for the head of a Madonna or Angel). Silver point, on white paper, no. 6954. Mitchell sale, where it was attributed to Ambrose Holbein. I am of the opinion of Herr Bayersdorfer, who was the first to recognise Leonardo's hand in this drawing. The profile especially is quite in the master's manner.

III. Head of a man (no. 4468), full face, beardless and bald, with puffy features. Black chalk on bluish paper. This drawing looks to me like a forgery.

IV. Head of a child (no. 4467). Red chalk. False.

V. Profile of a man with a satyr's face (no. 4464). Pen drawing. Old, but not by Leonardo.

VI. Bust of an old man, turned to the right, wrapped in a cloak. Red chalk. Height, om. 100 cm., width, om. 068 cm. Formerly in the Hudson, Lawrence, and Mitchell collections. Exhibited in 1879 at the École des Beaux Arts. VII. Head of a woman, in profile to the right, on the reverse a woman, in profile to the left, opening her mouth to abuse some one (no. 4466). Pen. False.

VIII. Head of a satyr, full face. Pen. (no. 4465.) False.

HAMBURG. Museum.

I am indebted to Herr W. Seidlitz, Director of Fine Arts in the Kingdom of Saxony, for descriptions of the following drawings. I beg here to tender my public thanks to my distinguished correspondent.

I. Aristotle and Campaspe. The scene is a room; Campaspe mounts on Aristotle's back. Pen drawing, on grayish-blue paper. On the reverse, ten lines in Leonardo's writing.

II. Two naked youths, standing, and conversing with an old man, seated; at their feet a naked child; lower down, two other children. Water-colour, on violet-tinted paper.

III. Head of a young man, in profile to the right. Pen. On the reverse several autograph

notes.

IV. Head of a beardless old man. Caricature. In profile to the left, looking up. Red chalk. On the reverse, six lines in Leonardo's writing.

V. Three figures for a treatise on optics. Below, an inscription of one line. Pen. On the reverse, a S. Sebastian, also drawn with

the pen.

MUNICH.

Print Room.

Two copies in red chalk of the portrait of Isabella d'Este, made probably from the drawing at Florence, rather than from that in the Louvre. Old copies, but a good deal modified and embellished.

A small pen-drawing, washed with bistre, of two heads of old men, beardless, in profile turned to the left; one is covered with a sort of cowl. Perhaps an original, but in any case a copy of an original by Leonardo. Rather faint.

PESTH. Museum.

Two heads of warriors, for the Battle of Anghiari. Black chalk. (Richter, vol. i., p. 338.) See vol. ii., p. 148-149.

A warrior fighting. Study for the same. Red chalk. (Richter, vol. i., p. 339.) See vol. ii., p. 148-149.

VIENNA. Albertina.

The drawings in the collection of the Archduke Albert, or Albertina collection, have been reproduced in photographs by Messrs. Braun, Clément and Co. Waagen has described them in his work, Die vornehmsten Kunstdenkmäler in Wien (Vienna, 1866-67, vol. ii., p. 135136); but his descriptions call for a rigorous revision, which I have undertaken with the help of Herr Wickhoff's study, published in the (Viennese) Jahrbuch (Die Handzeichnungen der Albertina, fasc. ii., p. xi.).

I. The Visitation. Nothing to do with Leonardo. Ascribed by Waagen to Sebastiano del Piombo. (Braun, no. 89.)

II. Head of Christ, with the crown of thorns. Nothing to do with Leonardo. (Braun, no. 90.) III. Head of S. Anne. (Braun, no. 92.) Herr Wickhoff rightly pronounces this drawing an old copy from the picture in the Louvre.

IV. S. Mary Magdalene standing with clasped hands, surrounded by six angels hovering in the air. A drawing much more akin to the school of Raphael than to that of Leonardo. Ascribed by Waagen to Sodoma. (Braun, no. 93.)

V. Head of a beardless old man, in profile, turned to the left, with a cowl over his habit, known as a drawing of Savonarola, but really representing a man of a totally different age and type. Formerly in the Vasari and Crozat collections. Pen and wash. Caylus, Recueil de Testes de Caractères et de Charges, pl. lxiii. (Braun, no. 97.)

VI. A naked man, standing, facing the spectator, his arms extended; above, the hands

drawn separately. Nothing to do with Leonardo. (Braun, no. 95.)

VII. A woman seated; a study of draperies. An inscription in an unknown handwriting. An interesting drawing, but not by Leonardo. (Braun, 101.)

VIII. Caricatures and heads, in profile. (Braun, no. 98.) False.

IX. A frame of eight drawings, somewhat loosely handled, grouped together in a border designed by Vasari. Pen. Head of a young woman, almost full face. A little S. John the Baptist standing, his hands crossed on his breast. Six grotesque heads. Pen. (Braun, nos. 102-109.) Signor Morelli accepts the six heads as authentic. They are, however, manifestly false, although Vasari did them the honour of cataloguing them under the name of Leonardo.

X. Two heads turned to the left, one of which has woolly hair, and the negro type. Pen. Small size. Doubtful. (Braun, no. 99.)

XI. Two horses standing, facing each other. Pen. More than doubtful. (Braun, no. 100.) WEIMAR.

Private Collection of the Grand Duke. Bust of David. Silver point. Reproduced, vol. i., p. 33.

Heads of Apostles. Copies from the Last Supper. See vol. i., p. 191, note.

Leda with the Swan. Pen drawing. Too full and round in contour to be by the hand of the master. (Braun, no. 148.) Attributed to Sodoma by Signor Morelli. (Die Galerien Borghese und Doria Pamfili, p. 196.)

Head of an aged man, with a Cæsarian profile; bald and beardless, in profile, turned to the right. Doubtful. (Braun, no. 150.)

Head of an old man, bald and beardless, in profile, turned to the right. Red chalk. Probably genuine. (Braun, no. 152.)

Five grotesque personages. Copy of the Windsor drawing. (Braun, no. 151.)

Museum.

According to a communication received from Professor Ruland, the Grand Ducal Museum possesses a page from one of Leonardo's notebooks a sheet in 8vo, with several lines of writing, and various slight anatomical sketches on either side.

Drawing of a horseman. (Braun, no. 24.) This drawing is ascribed to Fra Bartolommeo; it is more probably a production of the school of Leonardo.

HARLEM.

Teyler Museum.

Head of a man, in profile to the right, with a very prominent chin. Pen drawing, washed with bistre, on dark yellow paper. This, according to Mr. Scholten, the Keeper of the Museum, is the only drawing that can be ascribed to Leonardo. Others-sketches after drawings or pictures by the master, studies of

LONDON.

heads with pen or pencil-have no real connection with him.

King William II.'s collection contained a fairly large number of drawings by Leonardo, descriptions of which will be found in the Catalogue des Tableaux de la Galerie de feu S. M. Guillaume (p. 142 et seq. 1850). The greater number of these drawings are described here under headings: the Louvre, former Galichon Collection, Weimar Museum, etc.

British Museum (Print Room). The majority of these drawings have been photographed by Braun.

I. The Virgin holding the Infant Jesus on her Lap. A large and brilliant drawing, full of detail and movement. In silver-point and black chalk, on greenish paper (Braun, no. 45). Reproduced, vol. i., pl. 5. The Virgin has a straight thin nose and smiling mouth, with something imperious yet free in the expression,

like the Madonna of Sant' Onofrio. Relying on the analogy of motive here with the Virgin and Child of the great altar-piece in the Brera, representing Lodovico il Moro and his family at the feet of the Virgin (vol. ii., p. 41), Signor Morelli ascribes this drawing to Bernardino dei Conti, or to the anonymous author of this altar-piece. It also served as a study for a Virgin in the Berlin Museum (Bode, Gazette des Beaux Arts, 1889, vol. i., p. 497-499). The factor that tells most against Leonardo's authorship is the treatment of the hands, which

are shrivelled and knotty. They have perhaps been re-touched or worked over. On the other hand, we cannot but be struck by the similarity of handling in this drawing and the studies of the Virgin at Christ Church and Chatsworth (see vol. i., p. 169 and pl. vi). This was not a solitary instance in which a contemporary of Leonardo's translated one of the master's drawings into paint. Compare the Virgin's head of the Windsor drawing, reproduced vol. i., pl. iv., p. 56, with the head of Botticelli's Virgin of the Magnificat.

The Brera picture, moreover, differs in some essentials from the drawing in the British Museum. In the picture the Virgin faces the spectator, whereas in the drawing she is turned to the left; in the picture she is huddled together, while in the drawing her attitude is full of ease and grace. The costume also differs. It is all freedom and elegance in the drawing, whereas in the picture it is clumsy and heavy. We may note another variation. The left arm sustains the Infant Jesus here; there it is extended to the donor's wife. As to the Child, his left arm is laid along his body in the drawing; in the picture it rests on the Virgin's right hand.

II. Study for the Saint Anne. The Virgin, in profile on the right, is seated on her mother's lap, and holds the Infant Jesus, who is blessing the little S. John. In technique, this is closely akin to the drawing at Venice. Lower down, there are studies for the same group or the same figures. Pen drawing, washed with Indian ink. Below, several sketches in pen or chalk; wheels; four autograph lines. On the reverse, a powerful head of an old man, beardless, in profile to the right. Italian chalk. (Former Galichon Collection, no. 163.)

III. The Virgin seated, and holding the Child. A pen-drawing, on pink paper. On one side, profiles and geometrical designs in chalk; on the reverse, the Virgin seated and holding the Child; another, half-length, naked, also drawn with pen and ink. The drawing on the right side of the sheet is perhaps by Leonardo; those on the reverse are extremely doubtful.

IV. Studies for the Infant Jesus playing with a cat. Three children, two seated, one kneeling; a cat alone. Pen. In Leonardo's first manner. On the reverse, three other children and a

cat.

V. Another study for the Madonna del Gatto. The Virgin, seated, holding the Child, who embraces a cat; another study at the side, for the Virgin's head. On the reverse, another and freer study of the same motive. Pen and Indian ink.

VI. Another study for the Madonna del Gatto. Pen. Five groups, and the head of a youth, in profile to the right. The Child is squeezing the

VII. Study of two draped figures, for a Virgin and a S. John the Baptist kneeling. In tempera on very fine canvas, in chiaroscuro. Formerly in the Westcombe, Robinson, and Malcolm collections. Doubtful. (Exhibited in 1879 at the Ecole des Beaux Arts.)

VIII. Study for the Adoration of the Magi. Five persons standing; another sitting; on the left, the profile of an old man turned to the right. Pen (Müller-Walde, fig. 77). On the reverse, an allegorical composition. Pen and ink, on pink paper. A naked woman incites a child to blow through a tube upon a group of three or four persons seated or rather huddled together in the middle of the drawing; among them women with pendulous breasts. In the left-hand corner, a sketch, in silver-point, of a confused group of figures. The inscription, "Ingratitudine, Invidia, Ignoranza (?), Fortuna," is by Leonardo's hand, though all the words are not written backwards.

IX. Studies for the Adoration of the Magi. Above, a draped figure, with a long speakingtrumpet, is shouting into the ear of a seated person; below, two draped figures, seated, seem to be talking together. Pen and bistre. Formerly in the Lawrence and Malcolm collections. Reproduced, vol. i., pp. 72, 225.

X. Study for the Christ of the Resurrection in the Berlin Gallery; the left arm raised, the head only slightly indicated; the drapery floating behind the back is, on the other hand, elaborately treated and very fine. Silver-point, heightened with white, on blue paper. Catalogued as of the school of Leonardo. Formerly in the Malcolm collection.

XI. Study for a Victory. The goddess is naked to the breast, her hair in disorder, one foot raised as if in rapid motion, one hand laid on a sort of tray, which serves as base to a genius about to take flight. Above, a dishevelled head, three-quarters face. A beautiful drawing in pen and ink and silver-point, washed with bistre. On the reverse, a few lines in old handwriting. Formerly in the Desperet, Galichon, and Malcolm collections (Braun, no. 38. Drawings of the Old Masters.)

XII. Five horsemen. Study for the Battle of Anghiari. Pen. It contains the motive of the two horses biting each other's breasts, and a horse in full gallop, recalling the drawing in the late Galichon collection.

XIII. A man defending himself against animals by the help of a burning-glass. Allegorical composition. Original of the drawing in the Louvre. Pen. Drawn with very small fine strokes. Reproduced, vol. ii., p. 57.

XIV. A naked man, standing. Study for a

Neptune (?) Pen. (Braun, no. 48.) Reproduced, vol. i., p. I.

XV. Engines of war. A man on horseback drawing a chariot, armed with scythes; below, two other engines of war, and a lance with several heads. Autograph inscription. Pen. (Braun, no. 52.) Reproduced, vol. ii., p. 105.

XVI. Bust of a warrior, in profile, in a richly ornamented helmet and cuirass. Silver-point, on prepared paper. Formerly in the Lawrence, Robinson, and Malcolm collections. Reproduced, vol. i., p. 57.

XVII. Head of a bald, beardless old man, with a triple chin; full face. The original of a drawing in the Ambrosiana. Silver-point, heightened with white, on blue paper. This drawing seems to have been touched up by another hand, which explains its attribution in the British Museum Catalogue to the school of Leonardo, and not to Leonardo himself. Reproduced, vol. i., pl. 12, p. 240.

XVIII. Head of a beardless man, in profile to the right. Silver-point, heightened with white, on bluish paper. The drawing very faint. It seems to represent the same person as no. XVII., and has much in common with a drawing in the Trivulzio manuscript. (Beltrami, p. 68.) Reproduced, vol. i., pl. 10, p. 214, (Braun, no. 46.)

XIX. Head of a beardless man, in profile to the right, his lips parted, his eyes cast up, his hair dishevelled. Red chalk. A fine drawing. (Braun, no. 44.) The same, reversed, in the Ambrosiana.

XX. Bust of a beardless man, still young, in profile to the left, his lips parted, his head protected by a helmet in the form of a lion's mask. He bears some likeness to the young horseman in the Battle of Anghiari. Silverpoint. Doubtful. (Braun, no. 293.)

XXI. Small beardless head, with turned-up nose and protruding lips, in a cap ending in a veil. In profile to the right. A caricature-like study. Pen. (Braun, no. 50.)

XXII. Small head of a bald, beardless man, in profile to the left; the protuberances of the skull very strongly marked, and the chin prominent, but not treated as a caricature. Pen. (Braun, no. 51.)

XXIII. Head of a bearded man, threequarters face turned to the right, looking down. Red chalk. In the manner not of Leonardo, but of Raphael. (Braun, no. 47.)

XXIV. Seven grotesque heads, all in profile, four turned to the right, three to the left. Below, on the right, a shrewish looking woman, screaming. Pen.

XXV. A man with a long beard, facing the spectator; he wears a cap with a feather. Later than Leonardo, possibly not even

Italian. (Braun, no. 297.) The same may be said of Braun's nos. 292, 294, 295.

XXVI. Study of a leg. The lower part of a naked man's body, in profile. Red chalk. Autograph inscription.

XXVII. Three heads of peasants, laughing. Of a pronounced Flemish character, in the manner of Quentin Matsys. Pen. (Braun, no. 49.) False.

XXVIII. Large study of a horse's skull, seen from the front. Wash. Doubtful. A whole series of drawings in the Malcolm collection ascribed to Leonardo are in reality by imitators. Among others, there is a large copy of one of the horsemen in the Battle of Anghiari. I shall not discuss these drawings, which are described in Sir Charles Robinson's Catalogue of 1876.

South Kensington Museum.

I. Design for a monumental chalice, or for the top of a font, ornamented with "putti." Pen and chalk. A charming sixteenth-century drawing, which has no connection whatever with Leonardo, or with his school. No. 2314.

II. Two ornaments, leaves, etc. Pen. No thing to do with Leonardo. Nos. 6702, 6703.

III. Head of an old man, three-quarters face turned to the right. Pen. Another head, in profile to the right. Two heads in profile, a young and an old woman. Above, the skull of a carnivorous animal (?) Pen and chalk. Doubtful. Dyce collection, no. 152.

IV. Head of a horse, in profile to the left. Pen. A very spirited drawing, not by Leonardo. (Same collection, no. 180.)

V. Two heads, in profile to the right. An old man with a long beard, and a young man in a cap. Pen. Later than Leonardo. No. 188. VI. A grotesque head. An old man, threequarters face turned to the left, with staring eyes. Pen. False. No. 179.

OXFORD.

Christ Church Collection.

Seven of the drawings in this collection were published in 1879 in the Grosvenor Gallery Publications: Drawing by the Old Masters in the Library of Christ Church, Oxford; and three others by Dr. Richter.

I. Virgin seated, half-length, her breast uncovered; she holds in her arms the Infant Jesus, naked; he lays one hand on his Mother's right breast. Black chalk. Waagen considers this drawing one of Leonardo's masterpieces. Signor Morelli ascribes it to Giampetrino (Die Galerien Borghese und Doria Pamfili, p. 204). Very doubtful. (Grosvenor, no. 1.)

II. Study for the Virgin of the Rocks. Bust of a woman, her eyes cast down, her head inclined to the right, her curling hair falling to the upper edge of her bodice, which is cut out at the throat. A somewhat prim expression. Silver-point, heightened with white, on bluish paper. According to Signor Morelli, this drawing is by Bernardino dei Conti. But as a fact, it is, as was shown vol i., pp. 164, 169, an original study by Leonardo for the Virgin of the Rocks.

Two women

III. Allegorical composition. seated, a third driving a flock of sheep. Pen. Reproduced, vol. ii., p. 56.

IV. An allegorical composition. A woman mounted on a toad, drawing a bow; behind her a man, on the right a skeleton armed with a scythe. Pen. (Richter, pl Ix.)

V. Allegorical composition. A woman mounted on a skeleton. On one side, a body with two torsoes. Pen. (Richter, pl. lxi.) Reproduced, vol. i., p. 136.

VI. Allegorical composition. A body with two heads and four arms. Pen. Richter, pl. lix. Reproduced, vol. ii. p. 53.

VII. Portrait of a man, in profile to the right, his head thrown back. He has thick lips like a Moor, in spite of his aquiline nose; a triple chin, and curling hair. In black chalk, with the (forged) signature LIONARDO DA VINCI. Ascribed by Waagen to one of the best of Leonardo's pupils. This portrait is certainly not that of Lodovico il Moro, to whom it does not bear the least resemblance. (Grosvenor Gallery, no. 2.)

VIII. Portrait of a beardless man, middleaged; a bust, three-quarters to the right. The eyes cast slightly upwards. Fifteenth-century costume; a flowered doublet and a cap. Black chalk. A good portrait, but not sufficiently free for Leonardo. (Grosvenor Gallery, no. 3.) IX. Portrait of a young man, a bust, threequarters face. He wears a cap over his long hair, and a doublet fastened up to the throat. There is a certain likeness in this drawing to the portrait of Raphael. Certainly not by Leonardo. (Grosvenor Gallery, no. 4.)

X. A study of drapery. Silver-point, heightened with white, on blue paper. (Grosvenor Gallery, no. 6.) Doubtful.

WINDSOR LIBRARY.

This collection alone contains five or six times as many drawings by Leonardo as all other museums or private collections put together. In this incomparable array, scarcely more than a dozen drawings by pupils or imitators can be pointed out. Thanks to the gracious permission of her Majesty, Queen Victoria, and the great courtesy of Mr. Richard

Holmes, the Librarian of Windsor, I have been able to study this priceless collection at my leisure. If the catalogue I now offer to the public is not altogether definitive, it will at least serve as a useful base for the labours of my successors.

The Windsor collection was formed by Pompeo Leoni, who placed the following inscription on the volume containing it :

"Disegni di Leonardo da Vinci
Restavrati da Pompeo Leoni."

It seems to have been acquired in Spain, after having been for some time in the possession of Juan de Espina. (Plon, Leone Leoni, p. 244246.)

It first found a home in England at Kensington Palace, and afterwards at Buckingham Palace, where Passavant saw it in 1831 (Kunstreise durch England und Belgien ; Frankfort-on-the-Main, 1833, p. 234-235). For many years past it has been at Windsor Castle. (See Waagen, Treasures of Art in Great Britain, vol. ii., p. 437-442; London, 1854)-(Rigollot, Catalogue de l'Euvre de Léonard de Vinci, p. xxxiii.)—(Piot, Le Cabinet de l' Amateur, 1861– 1862, p. 65.)

Seventeen of the drawings were reproduced by Bartolozzi for Chamberlain's collection at the end of last century. In 1877-1878, a large number of them were exhibited at the Grosvenor Gallery, and reproduced in a hundred photographic plates. Dr. Richter has reproduced many others in his monumental book, The Literary Works of Leonardo da Vinci. Others, again, have been photographed by Braun (in this connection see a note by Signor Frizzoni in the Zeitschrift für bildende Kunst, 1890, p. 245-248).

The Windsor collection, formerly bound up in a volume of 236 folios, mounted on blue paper, is now divided into some half-dozen portfolios. Some of the drawings are mounted on very strong cardboard; some are simply laid in wrappers. Many of these latter, of very small dimensions (some are hardly half the size of a postage stamp), appear to have been cut out of manuscripts. I have catalogued them to the best of my ability, although in the present work I have not attempted to give lists of the illustrations accompanying Leonardo's writings, and forming a commentary on them.

The numbering of these hundreds of masterpieces is very capricious. Many bear no marks at all; others, again, have several, some in ink, some in pencil. It may be imagined how greatly this irregularity added to the difficulties of my task. I venture to ask for the indulgence of my readers should any repetitions or confusions have crept into the notes I have had to depend on, far from the collection to which they refer. As far as possible, I have adopted the