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Bust of a beardless old man, in profile to the right. Pen. No. 58.

Head of a beardless old man, in profile to the left, with a very aquiline nose and a long chin. Pen. No. 19.

Two heads in helmets, in profile to the right. Pen. No. 49. Reproduced, vol. i., p. 16.

A head in a helmet, in profile to the right; another head in profile beside it. Pen. No. 19.

Head of an aged man with a beard, almost in profile to the right; the forehead very wide and lofty. Pen No. 42.

Three heads of beardless old men, in profile to the right. Cut out. Pen. Nos. u, 16, 17.

Bust of a bald, beardless old man, in profile to the right. No. 7. Italian chalk.

Head of an old man, in profile to the left, his eyes fixed on some luminous point. Autograph notes. Pen. (Richter, pl. xxxii.)

Head of an old man, in profile, with measurements and an autograph note.—A naked man standing. Pen. (Grosvenor, no. 83.)

Head of an old man, with a long beard, his hair and moustache plaited. In profile to the right. Reproduced, vol. ii., p. 225.

Head of an old man, in profile to the right, with a prominent chin. No beard. Facing it, also in profile, the head of a man with thick lips and a receding chin. Pen and wash. (Braun, no. 236.)

Bust of a beardless old man, with strongly marked features, and an aggressive expression, in profile to the right. Thick hair. No. 37. Red chalk. (Grosvenor Gallery, no. 19 ; Braun, no. 218.) See vol. i., p. 238.

D. 3.— Women.

Studies of female heads and hands. Three large drawings in silver-point on pink tinted paper. The one with the heads is numbered 49. Doubtful.

Head of a woman, full face, looking towards the left. Red chalk. (Grosvenor Gallery, no. 14; Braun, no. 252.) Not by Leonardo.

Head of a young woman, full face, looking towards the left, her neck bare. In colour. (Braun, no. 253.) Not by Leonardo. A note in pencil ascribes it to Giumpietrino.

A young woman, with serious features, almost full face, turned slightly to the left, the nose rather short, vacant eyes, the hair concoaled by a head-dress. No. 45 or 46. Red chalk. (Braun, no. 226.) Very doubtful.

A woman, half length, three-quarters face. Cut out. Italian chalk. Doubtful.

Head of a young woman with flowing hair, three-quarters face, the eyes rather haggard; looking to the left. Silver-point on bluish paper. (Grosvenor, no. 6; Braun, no. 228.) Reproduced, vol. i., pl. 13.

Head of a woman, three-quarters to the right, the eyes downcast, the hair in disorderItalian chalk, on prepared paper. Nothing to do with Leonardo. A modern inscription below attributes this drawing to Gaudenzio Ferrari. But the delicate, vaporous handling is just as closely akin to that of Sodoma. (Braun, no. 256.)

Head of a young woman, three-quarters face, turned to the right. No. 15. A slight sketch in red chalk. On the reverse, a man ascending, another descending; a knee, an eye, and the lower part of a naked figure. Pen.

Bust of a woman, three-quarters face, turned to the right, the head barely indicated, the shoulders bare, the dress cut open across the breast. No. 217. Red chalk on red paper.

Head of a young woman, with wavy hair; three-quarters face, looking to the right. No. 14. Red chalk. (Braun, no. 231.) On the reverse, a whole page of Leonardo's handwriting.

A similar head, drawn with the pen, appears in one of Leonardo's MSS., in the parcel marked Varia.

Head of a young woman, three-quarters to the right; the eyes downcast. On one side, the head of a beardless man, also turned to the right. Red chalk. Two men carrying a litter. A dial, etc. Pen. Autograph notes.

Head of a young woman, in profile. She bears a strong likeness to the young woman of the Vallardi Collection. (Braun, no. 168.) The head-dress and gown are the same; but the head is less inclined, and the expression less sentimental. Turned to the left. Silver-point, on blue paper. (Grosvenor, no. 5; Braun, no. 229.) Reproduced, vol. i, p. 5.

Head of a young woman, in profile to the right; the eyes downcast; the features rather heavy; the nose short and straight; the chin prominent. She bears a striking likeness to Luini's Saint Catherine (portrait of the Contessa di Cellante) in the Monastero Maggiore at Milan. I should therefore ascribe this drawing, not to Boltraffio, as does the note pencilled upon it, but to Bernardino Luini. (Grosvenor, no. 7; Braun, no. 230.)

Portrait of a young woman, in profile to the right. Silver-point, on pink paper. A beautiful drawing. Reproduced, vol. i., p. 4.

Portrait of a woman, in profile to the right. Black chalk; the outline pricked as if for pouncing. Certainly not by Leonardo. No. 48. The type, a very unattractive one, bears a certain likeness to that of Thcodorina Cibo, daughter of Pope Innocent VIII. (Braun, no.

234.)

A woman, half-length, in profile to the right. A haughty expression. No. 39. Italian chalk, with a little red chalk. Authentie, though slightly affected. (Braun, no. 232.)

E. Caricatures.

Five grotesque heads. Among them a socalled portrait of Dante. Pen. Reproduced, vol. i., p. 249. This drawing should be compared with similar ones in the Louvre and the Weimar Museum. On the reverse, several lines-in Leonardo's handwriting.

Eight grotesque heads of men and women, all in profile. Pen. (Grosvenor Gallery, no. 22; Braun, no. 237.)

Five grotesque heads, cut out, all in profile (four to the right, one to the left). Nos. 29, 39, 62, 63. Pen. Great freedom in the handling.

Four grotesque heads, facing each other, in profile, two male, and two female. Red chalk. No. 43. (Grosvenor, no. 23 ; Braun, no. 236.)

Two heads, facing each other. One, an old man turned to the right; the other, with a pointed nose, turned to the left. No. 37. Pen.

A grotesque head of a man, and one of a woman, facing each other; the man in profile to the right : the woman in profile to the left. The woman wears a high head-dress. No. 36. Pen.

Two heads. A woman, in profile to the left; the nose shrivelled. She wears a high headdress, and stretches out her hand. The man, three-quarters face, grinning. Pen.

A grotesque personage, in profile, with a broken nose and nut-cracker chin. (Braun, no. 236.) This type re-appears twice in the Duke of Devonshire's collection, (Braun, nos. 46 and 49) once alone, once, as at Windsor, facing an old woman, whose hair, elaborately dressed in a pyramid, recalls the head-dress of a Marquise of the last century.

Head of an old man, in profile to the right, looking up; a cap on his head. No. 13. Pen.

Head of an old man, in profile to the right, no beard, prominent nose and chin, a cap on his head. No. 60. Pen. On the reverse, an inscription in Leonardo's handwriting.

Head of a beardless man, in profile to the right, with a prominent chin. No. 66. Pen.

Head of a grotesque personage, in profile to the left; the lower lip thrust out. Pen.

liust of a stout, beardless old man, in profile to the right, the lower lip thrust out. No. 24. Pen. On the reverse, a face, lightly sketched.

Head of a beardless old man, in profile to the left. No. 20. Pen.

Two grotesque heads of old men, facing each other. One, with toothless jaws, in profile to the right, bears a vague resemblance to the socalled Savonarola in the Albertina at Vienna; the other has thick lips, and a nose disproportionately short. No. 52. Pen. (Braun, no. 238.)

An old man with a hooked nose, in profile to the right. Pen.

A grotesque old man, with a straight nose and

disordered hair, in profile to the right. No. 19. Pen.

A beardless old man, in profile to the right, a high conical cap on his head. No. 33.

Grotesque heads. Cut out.—Head of a beardless man, in profile to the right. No. 65. Pen.

Idem, with a pointed nose. No. 48. Pen.

Idem, with a beard and an aquiline nose.

Idem.

Idem.

Idem, no. 31.

Head of a bearded man, in profile to the right. His hands on a stick. No. 25. Pen, on bluish paper.

Bust of a beardless old man, in profile to the right, with a very strongly marked nose and chin, a cap on his head. Pen.

An aged person, with a hooked nose, in profile to the right, his hair pulled over his forehead. Some cyphers on the sheet. No. 7. Pen. Cut out.

A beardless, bald old man, half-length, in profile to the right. No. 22.

An old man, in profile to the right, no beard, his chin almost touching his nose. No. 2. Pen.

Beardless old man, profile to right; prominent nose, retreating chin. Pen.

Grotesque head of a woman, nose atrophied, enormous chin, extravagant head-dress. Red chalk. No. 32. (Grosvenor Gallery, no. 24; Braun, no. 239.)

Head of an old woman with a goitre. The upper part of the head wanting. Profile to the right. On the back some of Leonardo's writing. Pen. No. 59.

F.— Torsoes, hands, feet and other fragments.

Two male torsoes (after the statue of Pasquin?). A horseman and two men on footj fighting. The profile of a leg, turned to the right. Pen and red chalk. Autographic inscription. (Richter, pl. xxi. ; Braun, no. 204.)

Study for the hands in the Mcna Lisa. Higher up, the profile of an old man, in small. According to Mr. Holmes this drawing has to do with the Hora, at Hampton Court. No. 210. Silver-point, heightened with white, on pink paper. See above, vol. ii., p. 157.

Two hands, interlaced. No. 212. Italian chalk. (Grosvenor Gallery, no. 71; Braun, no. 240.)

Front of a hand, resting on a table. Red chalk. (Grosvenor Gallery, no. 68.)

The same hand seen in profile. No. 211? Red chalk. (Grosvenor Gallery, no. 67.)

Very slight studies of hands, in silver-point, on pink paper. A right hand, with the first finger extended to the right, can be dis

tinguished. Two sheets ; on the reverse of one the number 28.

Clenched hand, a confused mass below. No. 74. Red chalk, with a few white touches. (Grosvenor Gallery, no. 98; Braun, no. 242.)

A right leg, extended. Pen and red chalk.

A left leg, seen from behind. Pen, on blue paper.

A right leg, seen from the front. Pen, on red paper.

A right leg, much bent, seen from in front. Pen.

A right foot, seen from in front. Red chalk. Autograph notes on the back.

An eye, in profile, looking to the right. No. 69. Pen.

Two eyes, in profile, looking to the right. One in red, the other in Italian chalk.

An eye turned to the right. Black and red chalk.

G.—Ana to my.Proportions. A tt it udes.

The anatomical drawings at Windsor have all either been published or are about to be. (Mathias Duval et \V\cn\,L'Anatomic desMaitres, Paris, 1890-1891.—Sabachnikoff, Piumati, and Mathias Duval, / Manoscritti di Leonardo da Vinci del la Reale Biblioteca di Windsor. Dell' analomia, vol. i., Paris, 1898, et seg.)— (Grosvenor Gallery, nos. 39-44; Richter, plates cvii.-cviii.)

I shall content myself here with giving a short indication of what this precious collection contains.

97 V.A. Eighteen sheets published by M. Sabachnikoff.

B. Forty-three sheets (blue paper).

Wrapper no. 3. Studies of proportion. Eleven drawings, or sheets of drawings, among them a beardless male profile, turned to the left, accompanied by measurements, beside it a standing figure. Silver-point and pen. (Richter, pl. x.)

D. Drawing relating to the process of generation; fcetus, etc.

E. Twenty-two sheets of drawings on blue paper.

F. 39-47. Sketches of the vertebrae, etc.
Wrapper no. 9. Sixty-five drawings on blue

paper, white paper, etc.

A naked man, standing, front face, his legs and arms stretched apart, holding a staff in his left hand, no beard. No. 69. Red chalk. (Braun, no. 200.)

A younger man, in the same attitude, but with his arms nearer to his sides. Red chalk. No. 61. (Grosvenor Gallery, no. 79; Braun, no. 199. Reproduced in Manzi's edition of the Vatican Trattato, pl. vi., fig. 16.)

A bearded man, in the same attitude. Red chalk. (Braun, no. 197.)

The same, seen from behind, with an autograph note. Red chalk. (Braun, no. 198.) Reproduced in Manzi's edition of the Vatican Trattato, pl. vi., fig. 16. See also vol. ii., pl. 14.

A naked -man, front face, from the breast downwards, the legs set apart; with an autograph note. On the back, two figures, one a front view, the other seen from the back. No. 55. Italian chalk. (Braun, no. 201.)

A naked man, same pose, but turned more towards the right. Italian chalk.

A naked man, front lace, standing, the legs apart. Pen. No. 105.

A man running towards the right, seen only from the loins downwards. No. 73. Pen and red chalk. Autograph note.

Profile of a naked man, from the lower part of the chest to the feet. Turned to the left. Study for the right arm and right breast of a male figure. Silver-point on blue paper.

A naked man, standing, only the left side finished. Silver-point, on blue paper.

Male torso, without the head; the arms brought to the front. No. 80. Red chalk, on red paper.

H.—Studies of Drapery.

Studies of drapery for the lower parts of two seated figures. No. 122. Italian chalk. Has to do with the Saint Anne, as have also the following somewhat nondescript studies :—

Study of drapery for the lower part of a seated figure. No. 226. Italian chalk, heightened with white, on grey paper.

Fragment of drapery over a knee. Italian chalk, on red paper.

Study of drapery for an arm, turned to the right. The hand holds some object not easy to identify. No. 213. Black and red chalk, heightened with white, upon red paper.

Study of draperies, .somewhat confused. No. 201. Black chalk and wash, on grey paper.

Study for the drapery on the Virgin's right leg. On the back, geometrical drawings. No. 219. Italian chalk, heightened with white. (Grosvenor Gallery, no. 100.) See vol. ii., pl. 18.

Study for a sleeve. No. 213. Red chalk, heightened with white, on red paper. (Grosvenor Gallery, no. 70.)

A similar drawing. No. 214.

Study of folds. Pen, heightened with white, on red paper.

Study of folds, the lower part of a robe. On the back a nude male figure, standing, seen from behind and turned to the left. Pen, on paper tinted pink. Of very doubtful authenticity.

I. Studies for lite Sforza Monument and
various studies of Horses.

Studies for the Sforza group. A rearing horse, turned to the right, its rider stretching out his right arm. An equestrian statue on a pedestal, a fallen man raising himself to defend himself against the horse. A similar drawing. Another, no. 17. Pen. Rather archaic in appearance and clumsy in its proportions. R. A., no. 70. F. 37. (Richter, pl. Ixvi.; Braun, no. 181.)

A rearing horse. Five heads of neighing horses. A lion's head. Profile head, to the right, of a man shouting; analogous to the Medusa in the Scipio of the Rattier Collection. A horse trotting, with his head turned towards his flank. On the back, autograph notes, a horse's head, and some geometrical drawings. F. 65. Reproduced, vol. i., p. 161.

A rearing horse, to the left, head to the right. Italian chalk. F. 66.

Two groups of horses biting each other. A horseman beating a half-fallen horse. Two men, one pursuing the other. (? Studies for the Battle ofAnghiari.} No. 109. Pen. F. 67. On the back: Study for a bodice. Red chalk. A horse rearing, to the left, and throwing back his head. No. 112. Red chalk. F. 68.

Studies of horses. Heads of old men, turned to the right. Standing figures. (An angel raising the right hand, not by Leonardo.) Drawings of machines. On the back: horses in various attitudes, one in profile, and geometrical figures. No. 53. Pen. F. 59.

Horse charging to the right and neighing. Higher up, the hind quarters of another horse. No. in. Silver-point, on pink paper. F. 62.

A horse rearing to the right, over a tree trunk. The armed rider holds a sceptre in his right hand. No. 3. Silver-point on blue paper. R. A. 66. F. 36. Reproduced, vol. ii., p. 5. (Original of one of t,he horses reproduced, vol. i., p. 223.)

Three horses in profile, moving to the right. The lowest carries a horseman, who holds a sceptre in his right hand. No. 12. Italian chalk. R. A. 69; F. 38. The lower part reproduced by Dr. Richter, pl. Ixx. (Braun, no. 182.)

A horse rearing, to the right, over a prisoner. The naked rider brandishes a sword in his right hand. Lower down, an indication of architecture. No. 45. Italian chalk. R. A. 66. F. 35. Partly reproduced, vol. ii., p. 160.

Sketches of machines, and small profile of an old man, turned to the right. Frame for a charging horse. M.S. fragments. R. A. 81. F. 60.

Frame for an equestrian statue, etc. No. 30. Pen and red chalk. R. A. 79. F. 53.

A similar drawing. Pen. ¥. 59. Autograph notes on both sides of the sheet. VOL. II.

Sketches for the frame of an equestrian statue. Long autograph notes. F. 52. A similar item. F. 51.

Sketches for circular and rectangular pedestals for the equestrian statue, and for various machines. No. 18. Pen. Notes. R. A. 78. Equestrian group, horse rearing. F. 46. An equestrian group, the horse moving to the left, its rider turning in the saddle. Lower down, a pedestal with a recumbent statue. No. 49. Pen and red chalk, corrections and alterations in red chalk. On the back a tracing (? more recent in date) of the horse. R. A. 67. F. 39. Reproduced, vol. i., p. 157.

A rearing horse ; the rider, seen from behind, stretches his right hand out backwards. No. 114. Silver-point on blue paper. Autograph notes on the back. R. A. 67. F. 40. Reproduced, vol. i., p. 213.

• Front view of a horse. High upon the left, the back view of a horse. Autograph note. Pen. F. 48.

Front view of a horse. No. 124. Silver-point, on blue paper. F. 28.

Horse, in profile to the right. Hind quarters of another horse in the same position. Silverpoint on blue paper. F. 29.

Horse, in profile to the right. Chest and forelegs of another horse. No. 105. Silver-point, on blue paper. R. A. 77. F. 56. Reproduced, vol. i., pl. 6.

Profile to the right of a horse, standing. Profile of a "near" hind-leg; the same leg seen from behind. No. 35. Pen. F. 1.

Horse walking, to the right. Lower down, a three-quarters view of a horse walking to the right. Another horse, seen from behind. Pen and chalk. A horse carrying a rider whose right arm is stretched out behind him. R. A. 74. F. 45. (Braun, no. 184.) Rep., vol. i., pp. 44, Sy. Four horses, three of them mounted, walking towards the right. Indications of other horses. No. 19. Italian chalk. R.A. 75. F. 57. (Richter, pl. Ixxiii.) The centre of drawing reproduced, vol. i., p. 148.

Five horses, one in profile to the right, another seen from behind, etc. A very small horse moving to the left. No. 48. Silver-point and chalk, on pink paper. F. 15.

Horse in profile, moving to the right, A horse's head. Italian chalk. F. 44.

A horse moving to the right, his rider holds a sceptre outstretched. No. 50. Pen. R.A. So.

F. 43

Five horses, some with, some without riders, [All have riders, but on two these are but slightly indicated.—El).] No. 121. Black chalk or pen. (Richter, pl. Ixix.)

Horse upsetting an urn. Two horses rearing over an enemy. Two horses walking. R.A. 65. F. 41. Partly reproduced, vol. i., p. 156.

T\vo horses in profile, one standing, the other

N N

moving to the left. Indications of more horses, one with a rider. No. 103 (? 105). Same technique. F. 9.

Horse in profile, turned to the left. Hindquarters of another horse. No. 42. Pen, with diagrams. F. 33.

Horse moving to the left. Very small. No. 18. Pen. Reproduced, vol. ii., p. 132. F. 24.

Horse harnessed between two wheels and bearing a rider. Pen and red chalk. F. 23.

Back view of a horse lying down. Front face of a woman. Vague sketches. Pen. F. 31a.

Standing horse, turned to the left. Forefoot of another horse. Autograph notes. Silverpoint, on blue paper. On the back, a horse in red chalk. No. 113. F. 31.

Sheets of studies of horses, mostly taken from manuscripts. F. 81.

Fireworks springing from three points. Pen. On the back a horse rearing, to the left, and two women with a child, etc. No. 26. Italian chalk and pen. F. 74.

Two heads of horses, profile and front face, with notes. Two fore-legs of horses. No. 13. Italian chalk, with notes in ink, on pink paper. R.A. 76. F. 54.

Two heads of horses, profile to the right and front face. Lower down, a horse seen from behind, and another turned to the right. No. 120. F. 32a. Reproduced, vol. i., p. 128.

Head of a horse, -turned, to the left. No. 116; ditto, to the right, no. 117. Red chalk. Doubtful.

Head of a horse, neighing. No. 89. Pen. An autograph note on the back. No. 247. F. 25.

Front view of a horse's chest. Two hind-legs. No. no. Pen, on brownish paper. F. 11.

Fragment of a horse moving, to the left. No. 15. Italian chalk. On the back, the hind-quarters of a horse: a fore-leg and chest. Pen and black chalk. F. 16.

Middle-piece of a horse, in profile to the left. Black chalk heightened with white, on blue paper. F. 22.

Hind-quarters of six horses. No. 103. Red chalk. R.A. 71. F. 47. Reproduced, vol. i., p. i 52.

Fragmentary studies of horses ; one in profile to the right; a fore-hand, with raised leg; two hind-quarters. No. 100. Italian chalk. F. 9.

Four studies of a horse's hind-quarters. No. 119. Pen. R.A. 72. F. 50. Reproduced, vol. i., p. i 53.

Hind-quarters of a horse rearing, to the left. Black with a little red, chalk. F. 63.

Hind-quarters of a horse rearing, to the left; indications of two more horse. Italian chalk, slightly washed. F. 64.

Unfinished sketch of a horse, moving to the right. Hind-quarters of another horse. No. 39. Pen, on pink paper. F. 13.

Hind-quarters of a horse, turned to the left. Part of a horse seen from behind. A horse s nostrils. No. 47. Silver-point, on pink paper. F. 14.

Four fore-legs, two turned to the right, the other two to the left. No. 104. Silver-point, heightened with white on pink paper. F. 20.

Two fore-legs raised and one straight. No. 102. Red chalk. F. 3.

Two fore-legs, seen in profile; a fore-hand, with both legs : a bent fore-leg No. 101. Red chalk. F. 19.

Study for a near fore-leg, with autographic notes and figures. Pen. R.A. 72. F. 49.

Measurements of fore-legs, two straight, two bent. Autographic notes. Pen. On the back, tracings from the same. F. 55.

Profile of a near fore-leg, turned to the left. No. 16. Red chalk. F. 2.

Fore-leg, in profile. No. 20. Italian chalk and pen. On the back, a palace with flanking pavilions and a bridge in front. Italian chalk. F. 18.

A near fore-leg. No. 38. Pen, with slight wash. F. 27.

Profile of a fore-leg. No. 9. Pen. F. 26.

Fragmentary drawing of a horse raising his off fore-leg. Fore-leg of another horse. Pen and Italian chalk. On the back, slight sketches of more legs F. 17.

Hind-leg raised and fore-shortened. Other hind-legs. Slight indications of a horse, moving tothe right. No. 21. Pen, on pink paper. F. 12.

Four horses' legs. Italian chalk. On the back, a leg (pen) with figures, and another leg (red chalk). Three-quarters head of a bearded man, looking to the left : front face (nearly) of a beardless man. No. 23. Pen. F. 30.

Slight sketches of legs. No 33. Italian chalk. F. 6.

Confused sketches of legs. No. 34. Silverpoint, slightly washed. F. 5.

Five legs. No. 106. Pen, on blackish paper. F. 8.

Four legs, similar to the last. No. 118. Same method. F. 10.

Four legs, three in profile, all raised. Red chalk. F. 4.

J. Various Animals.

Head of a lion, with an autograph note. No. 115. Pen, with a little red chalk. F. 77.

Muzzle of a lion, in profile to the right. Head of a lion, front face. No. 17. Italian chalk. On the back, head of a beardless old man, in profile; on the right, a foot, etc. Geometrical figures. Autograph note. Pen.

Studies of cats, leopards, and a dragon. Pen. Autograph note. F. 72a. (Grosvenor Gallery, no. 58; Braun, no. 247.) Partly reproduced, vol. ii., p. 185.

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