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oldest of the numbers, which probably refer to Virgin of the Rocks. Body colour on washed the pagination of Pompeo Leoni's volume. paper. No. 223. (Grosvenor, no. 75; Richter, These numbers figure in the body of my pl. xliii. ; Braun, no. 196.) Reproduced, vol. i., descriptions, before the mention of the process pl. ii. employed in each case. The others follow at Study for the arm of the angel, in the Virgin the end. The anatomical drawings, the drawings of the Rocks, the forefinger out-stretched. No. of horses, and two or three other series, were 208. Washed drawing, heightened with white. numbered in pencil by Piumati, whose titles (Grosvenor, no. 72; Braun, no. 241.) I have adopted. As to the letters R. A. followed Head of the Virgin. Three-quarters to the by a number, they refer to the exhibition of works left, the eyes cast down, a veil twisted in her by the Old Masters, organised in London in hair. Silver-point on blue paper. A very fine 1879 by the Royal Academy.
drawing of unquestionable authenticity. The The papers used by Leonardo for the drawings prototype of Botticelli's Virgin of the Magnificat. at Windsor are of the most varied descriptions; Reproduced, vol. i., pl. iv. Study of a woman's they are tinted with dark red or cinnabar red, head, not unlike that of the Saint Anne. pink, green, blue, grey. Only a certain green Three-quarters, the eyes looking down to the tint, so characteristic of some drawings in the right. In three different chalks. (Grosvenor, Louvre, at Christ Church, and at Chatsworth,- no. 18; Braun, no. 223.) Doubtful. notably the studies for the Virgin of the Rocks Study for the head of S. Anne. Three-quarters
-is absent. Occasionally, the master has face, the eyes looking down to the left. Red written in red chalk on the red paper, which chalk, heightened with white. Doubtful. (Braun, has not added to the legibility of his hand- no. 222.) writing.
Three studies of feet for the Saint Anne (one An examination of the water-marks would be is numbered 77); the Child's uplifted foot, and of very great interest, but this is impossible in a side view of a foot, turned to the left-an the case of the drawings that are stuck down to unfinished foot, seen from in front-a foot seen the mounts.
sideways turned to the right. Black chalk, on A study of the Windsor drawings should be greyish blue paper. (Grosvenor, nos. 73, 74 ; made the basis on which to pronounce on the Braun, nos. 244, 245.) Cf. vol. ii., p. 128-129. authenticity of drawings attributed to the master See also below, under the heading : H. in other collections. It has convinced me that Draperies. there are many more authentic sketches by the Study for a Madonna with the Child. The master than is commonly supposed, or, as Virgin seated on the ground, one hand resting Hamlet says, than are dreamt of in our philo- on the earth, the other supporting the Infant sophy.
Jesus, as he blesses the little S. John.-A simi
lar motive without the little S. John. - Two A.-Sacred History.
studies for the Infant Jesus bestriding a lamb. Michelangelo's David.- A partial sketch of a Red chalk. No. 203. sea-horse.—Drawing of a standing figure, naked. A naked child, seated on the ground, and -Sketch of a palace.--Pen and Italian chalk. holding what is apparently a vase. No. 57. Autograph notes on both sides of the sheet Pen. On the reverse, notes in Leonardo's handR. A., no.93. (Grosvenor Gallery, no. 53. Richter, writing. pl. lxxxiii.) A fragment reproduced, vol. ii., p. 137. Study for an Infant Jesus, seen from behind
Study for a Madonna, seated, and suckling (without the head), sitting on the Virgin's arm. the Child. The little S. John approaches on Pen, washed with bistre. A drawing treated one side, his arms crossed; heads of old men with much“ bravura.” On the reverse, notes and youths in profile, .heads of lions, etc. Pen. in Leonardo's handwriting. (Braun, no. 205.) (Müller-Walde, fig. 49.)
Studies for two naked children, standing; one The Virgin reclining, the Infant Jesus beside drawn with the pen, the other in Italian chalk. her.— Three Infant Christs playing with cats.- Lower down, an old man's head. No. 202. Two children embracing each other. Pen, with Doubtful. a little red chalk. No. 201. Signor Morelli Studies for the Infant Jesus, in profile, seated has mistakenly pronounced this drawing false. (two sketches). --Studies for the legs of the It is in Leonardo's early manner. (Grosvenor, same. Red chalk. No. 207. no. 57 ; Braun, no. 186.) Two motives repro Study for a breast, once from in front, once duced, vol. ii., pp. 44, 184.
from behind. Red chalk. The Virgin adoring the Infant Christ. The Several studies for the Infant Jesus, seated Child naked on the ground.—Head of an old or lying down. Studies for the arms and legs. man in profile. A microscopic drawing Pen Silver-point on pink tinted paper. and silver-point. (Richter, pl. xl.)
The Infant Jesus, seated. Italian chalk. A Study for the drapery of the angel in the mass of confused lines. VOL. II.
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. In profile to the right. Beardless. No. 33. Red chalk. Reproduced, vol. i., p. 188.
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. 80.
Two naked old men, kneeling. Study for a Saint Jerome (?). Bust of a man. Pen with a little red chalk. No. 76. Doubtful.
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 Anghiuri.) 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, pl. lvi.) F. 70.
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.) Accord ing 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. Ixiv.)
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
chalk, of a much darker tone than that commonly used in Italy. Reproduced, vol. ii., p. 45.
An allegorical composition. Persons running out of a temple, others advancing to meet them. Pen. (Richter, pl. lviii.)
Fantastic heads, copies of cameos, etc. No. 60. Pen. (Richter, pl. lxiii.)
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.
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. 11. 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), crecchi," 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, turned to the right, his hand outstretched. Red no. 193.) F. 73.
chalk. No. 37. (Grosvenor Gallery, no. 64; A horseman in full gallop towards the right, Braun, no. 211.) There is a replica of this his lance in rest; below, two horses, falling to drawing in the Royal Library at Turin (no. 14). the ground. A little further, persons, very An old man, standing, in profile, draped in slightly indicated. Red chalk.
an ample toga, a roll of paper in his hand. (An A young man, naked, facing the spectator; advocate ?). Italian chalk. Reproduced, vol. i., a drapery floats over his shoulders, his head is p. 245. turned to the right, his left arm rests on his hip, A young woman, standing, stretching out his right arm hangs by his side, holding a her left hand. In the background a landscape. club (?). Red chalk, on red paper. A very fine No. 210 or 216. Black chalk. Reproduced, drawing.
vol. i., p. 121. A prisoner leaning on a stick, and holding A woman, standing, facing the spectator, a out his hand for alms. Italian chalk, with a branch in one hand, the other resting on her few touches of red chalk. Reproduced, vol. i., hip; she wears a cuirass-like bodice. No. 84. p. 137.
Black chalk. Reproduced, vol. i., p. 13. A naked man, stooping, his hands out. Another version, the right arm hanging down stretched to seize something. No. 10. Italian and the hand open ; the left arm against the chalk.
hip. No. 85. The same technique, and evidently A naked figure, seated, in profile to the belonging to the same series. right, the left leg bent under the right leg. A woman, standing ; her draperies very much Lower down, a child, seated. No. 70. Italian twisted. Very archaic. A dog by her side; chalk.
sketches of machines. No.47. Pen. Autograph A person, standing, draped, seen from be note. hind; very archaic. To the left, a study for a drapery. No. 21. Pen. Very small size. (Richter,
D.-Portraits and Studies of Heads. pl. xxviii.)
A large pen-drawing of eleven profile heads, A naked man, standing ; by his side a man, all turned to the right : old men, young men, three-quarters to the front ; horse and horse and young women. On the reverse, a study man, and some geometrical drawings. Auto for the Virgin and Child, and thirteen profiles, graph note. F. 33a.
turned to the right, heads of lions, a naked man, A man, in profile to the right, with a hood on advancing hastily ; on the right, a naked child his head. He bears a vague resemblance walking towards the left. Specially noteworthy to Lorenzo the Magnificent. Pen drawing among these is the study of a young man, in No. 35. On the reverse, a sketch of a machine. profile to the right, with a large expressive eye,
An aged man, standing, three-quarters length, a delicately formed nose, an upper lip slightly in profile to the right. Pen. No. 23.
curled (a charming motive), a rounded chin of Two naked men, one of whom, his back to exquisite outline, and curling hair. If one of the spectator, seems to be pursuing the other these heads is the work of Leonardo, we may Machines, geometrical figures, etc. Red chalk. conclude that all are by him; the handling is On the reverse, the number 30.
the same, the ink, the pen (now very thick, now A young man with luxuriant hair; behind very fine), and the hatchings from left to right, him the head of an old man. Pen. On the and from above to below. (Grosvenor, no. 52.) reverse, some figures, apparently in Leonardo's Several fragments reproduced ; vol. ii., p. 173, handwriting. Reproduced, vol. ii., p. 172. and see tailpiece, preliminary.
An old man, draped in classic fashion, in Ten studies of youthful heads, turned to the profile to the right; a horseman, etc. Auto- left ; some bare, some in helmets, etc. Pen and graph notes. Pen. On the reverse, geome- bistre. (Grosvenor, no. 56.) trical drawings. Reproduced, vol. ii., p. 8. A beautiful profile study of a youth, turned
An old man, seated by a watercourse, in to the left. Higher up, an old man's head, profile to the right ; studies of whirlpools. turned to the right; a standing figure, seen Autograph notes. Pen and bistre. On the from behind. Black chalk. No. 47. On the reverse, architectural drawings. Reproduced, reverse, fragments of machines. vol. ii., p. 229.
Profile outlines of heads; the mouths open, A draped figure, three-quarters length, the as if to scream. Italian chalk and red chalk. head raised and turned almost full to the spec- Autograph notes. On the reverse, a map. tator, the left arm drawn into the folds of the A series of beardless heads, in profile to the toga ; the head seems to be covered with right. Torso of a man, seen from behind, turned interlaced serpents. No. 215. Red chalk. towards the right. On the reverse, a horse's Chamberlain. (Braun, no. 195.) R. A., no. 101. fore-leg and hind-leg. Pen. The page of a
A bald, beardless old man, in profile, seated, manuscript. Fol. 1oa.
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.
A man's head, three-quarters face, looking up. Silver - point on pink paper. In the manner of Lorenzo di Credi. (Braun, no. 252.)
Three heads, two full face, one in profile. Red chalk. (Richter, pl. xl.)
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. I; 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. 06.
Head of a beardless old man, crowned with laurel : in profile to the left. Red chalk. No. .
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.