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oldest of the numbers, which probably refer to the pagination of Pompeo Leoni's volume. These numbers figure in the body of my descriptions, before the mention of the process employed in each case. The others follow at the end. The anatomical drawings, the drawings of horses, and two or three other series, were numbered in pencil by Piumati, whose titles I have adopted. As to the letters R. A. followed by a number, they refer to the exhibition of works by the Old Masters, organised in London in 1879 by the Royal Academy.

The papers used by Leonardo for the drawings at Windsor are of the most varied descriptions; they are tinted with dark red or cinnabar red, pink, green, blue, grey. Only a certain green tint, so characteristic of some drawings in the Louvre, at Christ Church, and at Chatsworth,— notably the studies for the Virgin of the Rocks -is absent. Occasionally, the master has written in red chalk on the red paper, which has not added to the legibility of his handwriting.

An examination of the water-marks would be of very great interest, but this is impossible in the case of the drawings that are stuck down to the mounts.

A study of the Windsor drawings should be made the basis on which to pronounce on the authenticity of drawings attributed to the master in other collections. It has convinced me that there are many more authentic sketches by the master than is commonly supposed, or, as Hamlet says, than are dreamt of in our philosophy.

A.-Sacred History.

Michelangelo's David.—A partial sketch of a sea-horse.-Drawing of a standing figure, naked. -Sketch of a palace.-Pen and Italian chalk. Autograph notes on both sides of the sheet R. A., no. 93. (Grosvenor Gallery, no. 53. Richter, pl. lxxxiii.) A fragment reproduced, vol. ii., p. 137. Study for a Madonna, seated, and suckling the Child. The little S. John approaches on one side, his arms crossed; heads of old men and youths in profile, heads of lions, etc. Pen. (Müller-Walde, fig. 49.)

The Virgin reclining, the Infant Jesus beside her. Three Infant Christs playing with cats.— Two children embracing each other. Pen, with a little red chalk. No. 204. Signor Morelli has mistakenly pronounced this drawing false. It is in Leonardo's early manner. (Grosvenor, no. 57; Braun, no. 186.) Two motives reproduced, vol. ii., pp. 44, 184.

The Virgin adoring the Infant Christ. The Child naked on the ground.-Head of an old man in profile. A microscopic drawing. Pen and silver-point. (Richter, pl. xl.)

Study for the drapery of the angel in the

VOL. II.

Virgin of the Rocks. Body colour on washed paper. No. 223. (Grosvenor, no. 75; Richter, pl. xliii.; Braun, no. 196.) Reproduced, vol. i., pl. ii.

Study for the arm of the angel, in the Virgin of the Rocks, the forefinger out-stretched. No. Washed drawing, heightened with white. (Grosvenor, no. 72; Braun, no. 241.)

208.

Head of the Virgin. Three-quarters to the left, the eyes cast down, a veil twisted in her hair. Silver-point on blue paper. A very fine drawing of unquestionable authenticity. The prototype of Botticelli's Virgin of the Magnificat. Reproduced, vol. i., pl. iv. Study of a woman's head, not unlike that of the Saint Anne. Three-quarters, the eyes looking down to the right. In three different chalks. (Grosvenor, no. 18; Braun, no. 223.) Doubtful.

Study for the head of S. Anne. Three-quarters face, the eyes looking down to the left. Red chalk, heightened with white. Doubtful. (Braun, no. 222.)

Three studies of feet for the Saint Anne (one is numbered 77); the Child's uplifted foot, and a side view of a foot, turned to the left-an unfinished foot, seen from in front-a foot seen sideways turned to the right. Black chalk, on greyish blue paper. (Grosvenor, nos. 73, 74; Braun, nos. 244, 245.) Cf. vol. ii., p. 128-129.

See also below, under the heading: H. Draperies.

Study for a Madonna with the Child. The Virgin seated on the ground, one hand resting on the earth, the other supporting the Infant Jesus, as he blesses the little S. John.-A similar motive without the little S. John. -Two studies for the Infant Jesus bestriding a lamb. Red chalk. No. 203.

A naked child, seated on the ground, and holding what is apparently a vase. No. 57. Pen. On the reverse, notes in Leonardo's handwriting.

Study for an Infant Jesus, seen from behind (without the head), sitting on the Virgin's arm. Pen, washed with bistre. A drawing treated with much "bravura." On the reverse, notes in Leonardo's handwriting. (Braun, no. 205.)

Studies for two naked children, standing; one drawn with the pen, the other in Italian chalk. Lower down, an old man's head. No. 202. Doubtful.

Studies for the Infant Jesus, in profile, seated (two sketches).-Studies for the legs of the same. Red chalk. No. 207.

Study for a breast, once from in front, once from behind. Red chalk.

Several studies for the Infant Jesus, seated or lying down. Studies for the arms and legs. Silver-point on pink tinted paper.

The Infant Jesus, seated. Italian chalk. A mass of confused lines.

M M

Two studies (cut out) for the Infant Jesus and the Madonna of Sant' Onofrio. Doubtful. Red chalk, no. 206. (Grosvenor, no. 76; Braun, no. 206.) According to Signor Morelli, this drawing is by Cesare da Sesto (Die Galerien Borghese und Doria Pamfili, p. 212). I hesitate to pronounce it the work of Leonardo.

The Infant Jesus, a bust in profile to the left. Red chalk. No. 3. (Grosvenor, no. 99 ; Richter, pl. xliv.; Braun, no. 205.)

Figures apparently connected with the Last Supper. Persons standing or sitting. No. 63. Silver-point on pink paper. (Richter, pl. lii.) According to Herr Müller-Walde (fig. 74), this drawing is a study for the Adoration of the Magi.

A sketch for the Last Supper. The disciples seated at the table, Judas at the opposite side; Christ gives the elements to the Apostles, who bow before him.-A circle with a triangle. Autograph notes. Pen. (Grosvenor, no. 80.) Reproduced, vol. i., p. 177.

Study for the head of an Apostle, bald, with a short beard. In profile to the left. Red chalk. No. 21. (Grosvenor, no. 8; Braun, no. 214.)

The same head, turned more towards the background. No. 36. Red chalk. Reproduced, vol. i., pl. 9.

Study for the head of Judas. the right. Beardless. No. 33. Reproduced, vol. i., p. 188.

In profile to Red chalk.

Study for the arm of S. Peter, holding the knife. Black chalk. No. 224. Reproduced,

vol. i., p. 189.

Study for the head of an Apostle. Beardless, with frizzled hair, in profile to the right. Red chalk. No. 34. (Grosvenor, no. 9; Braun, no. 220.) Reproduced, vol. ii., p. 12.

The same head; in profile to the left. No. 26. Italian chalk. (Braun, no. 221.)

Study for the head of an Apostle, beardless, in profile to the right. No. 23. (Grosvenor, no. 10; Richter, pl. xlvii.) Reproduced, vol. i., p. 192.

Study for the head of S. Philip. In profile to the left. Black chalk. No. 27. (Grosvenor, no. 16; Richter, pl. lxviii.; Braun, no. 178.)

Study for the head of an Apostle, with frizzled hair and a short beard. In profile to the right. Black chalk. No. 40. (Grosvenor, no. 17; Braun, 219.) Reproduced, vol. ii. p. 13. The Last Supper. The whole composition. A mediocre copy, in Italian chalk, of the mural painting. The background different. Inscribed with a note of no interest, relating to measurements: "B. 4/2 el tuto . . . ornamento." (Braun, no. 180).

Pietà. Washed drawing. Nothing to do with Leonardo. Perhaps by Gaudenzio Ferrari. On the reverse, in old writing: "Bernardino Luini." (Braun, no. 249.)

Christ descending into Hades, or S. John pointing out Jesus (Ecce Agnus Dei). Study for the figure of a naked man, stretching out his right hand, and holding the staff of a cross with his left. A beautiful drawing. No. 68. Silverpoint on bluish paper. (Grosvenor, no. 94; Braun, no 203.) Reproduced, vol. ii., pl. 24, See also p. 182.

The Ascension (?) Christ in the air, facing the spectator, his head slightly raised. No. 67; R. A. 98. Red chalk. A somewhat confused composition. Doubtful.

Study for the Saint Jerome in the Vatican. The saint is kneeling in exactly the same attitude as in the drawing reproduced by Gerli (pl. i.), save that here he holds a crucifix, which does not appear in Gerli's plate. Silver-point and wash, on grayish paper. (Grosvenor, no. 47; Braun, no. 202.) On the reverse: "Leonardo da Vinci, 53." Reproduced, vol. i., p. 8o. Two naked old men, kneeling. Study for a Saint Jerome (?). Bust of a man. little red chalk. No. 76. Doubtful.

Pen with a

Saint George and the Dragon. (Four different motives.) Horses standing, rearing or lying down. A leopard. Nos. 46, 115. Pen, with a light wash. (Grosvenor, no. 59; Braun, no. 246. F. 72.) A fragment reproduced, vol. ii., p. 185.

A naked saint, his arms behind his back, bound to a column; the weight of his body rests on his right leg, his left is bent, and supported by a pedestal. Pen and red chalk, on red paper. Doubtful.

B.-Mythological and Profane Subjects.-
Various Scenes.

The Triumph of Neptune. Black chalk. (Grosvenor, no. 48; Braun, no. 187.) Reproduced, vol. i., p. 140. M. Müller-Walde thinks the words inscribed on the drawing, "abassi i cavalli," are quoted from a poem which inspired the composition. It seems to me evident that they are merely a note by the artist, meaning that the horses must be lowered a little, to give greater prominence to the figure of Neptune.

Studies for the Leda. Four different drawings; the heads all three-quarters to the left, the eyes downcast, the hair elaborately dressed, in a network of braids, and twists like horns. One of the drawings, the most unfinished, bears the autograph inscription: "Questa si po levare e porre senza guastarsi." Roughly drawn with the pen, in yellowish ink; some portions seem to have been washed over with white. Only two of the drawings have been photographed by Braun, nos. 224, 225. Two fragments reproduced, vol. ii., p. 160-161.

A naked figure, standing, with head turned aside, in the attitude of the Leda. Very slightly

indicated, unfortunately. Beside it the head of a beardless old man, in profile to the right. Geometrical drawings. No. 27. Pen. The wolf suckling Romulus and Remus. No. 28. Black chalk. Later than Leonardo. The battle between Pyrrhus and the Romans. There are a few elephants among the forces of the King of the Epirus. The elephants, drawn from the artist's fancy, look like gigantic horses. On their backs are pavilions full of combatants. Red chalk, on red paper. R. A. 100-344.

Study of a young man's head, three-quarters to the right, the mouth half open. (Battle of Anghiari.) No. 44. Red chalk. Below, an architectural drawing. Pen. (Grosvenor, no. 13; Braun, no. 217.) Rep., vol. ii., pl. 21.

A troop of horsemen advancing towards the spectator. No. 113. Black chalk. F. 71. (Richter, pl. lvii.) Reproduced, vol. ii., p. 145. A perfectly authentic drawing, wrongly attributed to Cesare da Sesto.

Horses neighing and prancing, heads of horses, head of a man, shouting. Studies for the Battle of Anghiari. Pen. (Grosvenor, no. 87.) The rearing horse may, indeed, be a study for the Adoration of the Magi.

A group of combatants on horseback. Very confused. No. 31. Italian chalk. (Richter,

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A naked figure, seated, bound to a tree; behind him a man tightening the cord, and another, seated, his back to the spectator. Red chalk. (Grosvenor Gallery, no. 85.) According to M. de Geymüller (Les derniers Travaux, p. 9) this is a S. Sebastian. I should be more inclined to pronounce it a Marsyas. Not by Leonardo, nor even by any one of his school. R. A. 89.

A group of struggling horses. An incident of the Deluge. Very confused. Red chalk. R. A. 100; F. 34a. (Richter, pl. xxxiv.) A fragment reproduced, vol. ii., p. 25.

Twenty-three naked figures, of small dimensions, engaged in various labours. Pen and bistre. Two naked figures, seated; a leg, raised; a woman, stooping as if to take a child from a cradle. Black chalk. (Grosvenor, no. 55.) Reproduced, vol. ii., p. 65. The standing figure holding a stick is closely akin to that in the British Museum, reproduced, vol. i., p. 1.

An allegorical composition. Utensils of all kinds falling in confusion from the cliff of a promontory, in torrents of rain. Below, the inscription: “O miseria umana di quante cose per danari ti fai servo!" Above: "Di qua Adam e di là Eva." No. 184. Pen. (Richter, pl. lxiv.)

Allegorical composition. A wolf or a bear in a boat. On the globe the date 1516 is clearly legible. This drawing must therefore have been executed in France. It is drawn with red

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An archer fitting his arrow to the bow behind a shield. A war-chariot, harnessed to two horses, standing still. A horseman galloping forward, his lance in rest, and two other lances fixed to his horse's breast, against a war-chariot like the one described above. Pen and wash. R. A. 84. F. 34. Reproduced, vol. i. p. 125.

A cannon foundry. Naked men raising a cannon or cylinder with a crane. Pen. A rough drawing, but full of vigour. Reproduced, vol. ii., p. 101.

A naked man, taking a naked woman by the waist. A landscape. A leg, etc. No. 26. Pen. Autograph notes. On the reverse, several men lifting hammers, and a flute-player, who seems to have been inspired by classic models.

Little figures, barely distinguishable. Italian chalk. No. 33.

Similar motives. Id. No. 84.

A naked man, pursuing a woman on the right. Above, figures reclining, or resting on their elbows. No. 43. Pen. Cut out. (Richter, pl. xxxviii.)

A person seated, turned to the right; another listens, his chin on his hand. A slight sketch in red chalk. On the reverse, a few words in Leonardo's handwriting.

A labourer driving a plough, drawn by two oxen. Little figures breaking the earth with pickaxes, etc.; barely distinguishable. No. II. Red chalk.

Half a dozen little standing figures. No. 64. Pen. Almost microscopic.

Six men, standing, in various attitudes. Little pen drawings. Cut out. Nos. 92, 93, 95, 100, 103, 110.

Eight pen sketches, with autograph notes (heads, trees, a peacock, etc.). No. 47. The largest of these drawings, with figures on both sides, appears to be an atlas of natural history. It contains horses, a fox, a lion, a little figure entitled "Fortuna," bears (" orso, orsa,') etc. On the reverse, instruments, tools, plants "scharsella, fieno, orcj (vases), fritto, ala (a wing), orecchi," etc. Each sketch bears an inscription. Pen. No. 106.

C.-Single Figures.

A young squire, standing, holding a lance in one hand, and resting the other upon his hip. Black chalk. (Grosvenor, no. 60; Braun, no. 193.) F. 73.

A young horseman in the saddle, a lance in

his hand.

Pen. (Grosvenor, no. 61; Braun, no. 193.) F. 73.

A horseman in full gallop towards the right, his lance in rest; below, two horses, falling to the ground. A little further, persons, very slightly indicated. Red chalk.

A young man, naked, facing the spectator; a drapery floats over his shoulders, his head is turned to the right, his left arm rests on his hip, his right arm hangs by his side, holding a club (?). Red chalk, on red paper. A very fine drawing.

A prisoner leaning on a stick, and holding out his hand for alms. Italian chalk, with a few touches of red chalk. Reproduced, vol. i.,

p. 137.

A naked man, stooping, his hands outstretched to seize something. No. 10. Italian chalk.

A naked figure, seated, in profile to the right, the left leg bent under the right leg. Lower down, a child, seated. No. 70. Italian chalk.

A person, standing, draped, seen from behind; very archaic. To the left, a study for a drapery. No. 21. Pen. Very small size. (Richter, pl. xxviii.)

A naked man, standing; by his side a man, three-quarters to the front; horse and horseman, and some geometrical drawings. Autograph note. F. 33a.

A man, in profile to the right, with a hood on his head. He bears a vague resemblance to Lorenzo the Magnificent. Pen drawing. No. 35. On the reverse, a sketch of a machine. An aged man, standing, three-quarters length, in profile to the right. Pen. No. 23.

Two naked men, one of whom, his back to the spectator, seems to be pursuing the other. Machines, geometrical figures, etc. Red chalk. On the reverse, the number 30.

A young man with luxuriant hair; behind him the bead of an old man. Pen. On the reverse, some figures, apparently in Leonardo's handwriting. Reproduced, vol. ii., p. 172.

An old man, draped in classic fashion, in profile to the right; a horseman, etc. Autograph notes. Pen. On the reverse, geometrical drawings. Reproduced, vol. ii., p. 8.

An old man, seated by a watercourse, in profile to the right; studies of whirlpools. Autograph notes. Pen and bistre. On the reverse, architectural drawings. Reproduced, vol. ii., p. 229.

A draped figure, three-quarters length, the head raised and turned almost full to the spectator, the left arm drawn into the folds of the toga; the head seems to be covered with interlaced serpents. No. 215. Red chalk. Chamberlain. (Braun, no. 195.) R. A., no. 101. A bald, beardless old man, in profile, seated,

turned to the right, his hand outstretched. Red chalk. No. 37. (Grosvenor Gallery, no. 64 ; Braun, no. 211.) There is a replica of this drawing in the Royal Library at Turin (no. 14). An old man, standing, in profile, draped in an ample toga, a roll of paper in his hand. (An advocate?). Italian chalk. Reproduced, vol. i., p. 245.

A young woman, standing, stretching out her left hand. In the background a landscape. No. 210 or 216. Black chalk. Reproduced, vol. i., p. 121.

A woman, standing, facing the spectator, a branch in one hand, the other resting on her hip; she wears a cuirass-like bodice. No. 84. Black chalk. Reproduced, vol. i., p. 13.

Another version, the right arm hanging down and the hand open; the left arm against the hip. No. 85. The same technique, and evidently belonging to the same series.

A woman, standing; her draperies very much twisted. Very archaic. A dog by her side; sketches of machines. No. 47. Pen. Autograph

note.

D.-Portraits and Studies of Heads.

A large pen-drawing of eleven profile heads, all turned to the right: old men, young men, and young women. On the reverse, a study for the Virgin and Child, and thirteen profiles, turned to the right, heads of lions, a naked man, advancing hastily; on the right, a naked child walking towards the left. Specially noteworthy among these is the study of a young man, in profile to the right, with a large expressive eye, a delicately formed nose, an upper lip slightly curled (a charming motive), a rounded chin of exquisite outline, and curling hair. If one of these heads is the work of Leonardo, we may conclude that all are by him; the handling is the same, the ink, the pen (now very thick, now very fine), and the hatchings from left to right, and from above to below. (Grosvenor, no. 52.) Several fragments reproduced; vol. ii., p. 173, and see tailpiece, preliminary.

Ten studies of youthful heads, turned to the left; some bare, some in helmets, etc. Pen and bistre. (Grosvenor, no. 56.)

A beautiful profile study of a youth, turned to the left. Higher up, an old man's head, turned to the right; a standing figure, seen from behind. Black chalk. No. 47. On the reverse, fragments of machines.

Profile outlines of heads; the mouths open, as if to scream. Italian chalk and red chalk. Autograph notes. On the reverse, a map.

A series of beardless heads, in profile to the right. Torso of a man, seen from behind, turned towards the right. On the reverse, a horse's fore-leg and hind-leg. Pen. The page of a manuscript. Fol. 10a.

D. 1.-Youths and Men in their Prime.

Three heads of youths, in profile to the left. In ink; with several figures. Leonardo was long in search of this type—a youthful face, with deep, dreamy eyes, a slightly up-turned nose, and mouth shaped like a bow, somewhat approaching the English ideal of twenty years

ago.

Two profiles of youths facing each other. A little drawing on greyish paper; much injured.

Two profiles of youths, side by side, turned to the right; one drawn with the pen, the other with Italian chalk. On the back, a tracing. No. 22.

Bust of a young man, bald and beardless, in profile to the right. Red chalk. (Braun, no. 210.)

Head of a youth, in profile to the right. No. 9.

Head of a youth, in profile. Black chalk. (Grosvenor, no. 16.)

Profile of a youth. Autograph notes. Pen. (Grosvenor, no. 54.)

Head of a young man, in profile to the left; a Neronian type. Pen and bistre. Doubtful, although there are some notes in Leonardo's writing on the back, and a sketch of a horse.

F. 32.

Head of a man, in profile. (Grosvenor, no. 17.)

Bust of a bald, beardless man. In profile to the right. Red chalk. (Braun, no. 210.)

Head of a man in the prime of life, turned to the right. Red chalk. (Grosvenor, no. 20; Braun, no. 212.) A sheepish expression, There is a replica of this drawing at Turin, in the Royal Library, in which the head is crowned with laurel. Reproduced, vol. ii., p. 205.

Three heads of men, two full face, one in profile illustrations for the Trattato della Pittura. Red chalk. (Richter, pl. xl.)

Head of a bald, beardless man, in profile to the right, with measurements and four autograph lines, in an opposite direction. (Richter, pl. li.) On the reverse this fine head is transformed into a man with a pointed beard, no. 8. Pen. Facing him on the left, a grotesque head (caricature), with shrunken nose, and protuberant upper lip, in profile to the right. Pen. The master evidently turned the transparent paper to account in working out this metamorphosis.

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D. 2.-Old Men.

Portrait of Leonardo, in profile to the left. Red chalk. Inscribed, in capital letters: "Leonardo Vinci." Chamberlain. (Richter, pl. i.; Grosvenor, no. 1; Braun, no. 207.) Mended. The mouth less hard than it appears in the photograph. Reproduced, vol. ii., pl. 27. Head of a beardless old man, powerful, but unsympathetic, with frowning brows. Life size, full face. No. 30. A very elaborate drawing. Sketched in Italian chalk, washed with Indian ink, and heightened with white. Apparently worked over. Chamberlain. (Grosvenor, no. 4; Braun, no. 209.)

Head of a beardless old man, with long curling hair; full face, the neck bare, the mouth contracted, the skin under the eyes baggy; an old Adonis who has become like a woman. A very elaborate drawing, washed with bistre and white; wonderful relief. Has perhaps been retouched. (Grosvenor, no. 2; Braun, no. 208.) Reproduced vol. ii., pl. 16.

Head of an old man, full face, beardless, with thick hair, bound with a wreath of leaves. A morose expression. Near him, a lion's mask. No. 38. Red chalk. (Braun, no. 213.)

A similar study. Red chalk. No. 22.

Head of an old man, three-quarters face, turned to the right; beardless, the eyebrows knitted, scanty hair. Italian chalk. A fine drawing, but as much in the manner of Dürer as in that of Leonardo. R. A. 95.

Bust of a beardless old man, in profile to the left, with a strongly-marked nose and chin, and head slightly raised. No. 10. Red chalk. R. A. 96.

Head of a beardless old man, crowned with laurel; in profile to the left. Red chalk. No. 54.

Large head of an old man, bald, with a beard, and a hooked nose, in profile to the left. A veritable Shylock. Italian chalk, on rough paper. No. 47.

Head of an old man, in profile to the left, a cap on his head. Silver-point, with a slight wash. No. 50. Delicate, but dry in handling. Doubtful.

Two heads of old men, cut out. In profile to the left. Nos. 20, 46.

Portrait of an old man, in profile to the left, with long hair and beard; a helmet with a visor on his head. Perhaps a portrait of Leonardo. Pen. Reproduced, vol. ii., p. 221.

Head of a beardless old man, in profile to the left. On one side, a machine. Pen, on blue paper. E. 20.

Head of a beardless old man, turned to the right. Beside it, the outline of a machine. Pen. No. 53. On the reverse, a ship, and some autograph notes.

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