« 上一頁繼續 »
Six sheets of studies from flowers and plants. Campanulæ, no. 195. Red chalk. Reproduced, vol. ii., p. 89. Strawberries, no. 131. Reeds, no. 126; on the back, another plant. Tree and iris leaves. Flowers, no. 130. Reproduced, vol. ii., p. 256. Two heads of bulrushes (“Gionchi”), no. 153. Pen and red chalk. (Grosvenor Gallery, nos. 25-35.)
Head and forepart of the body of a fox, in profile. Hinder parts of the same. No. 122. Red chalk.
Camel. Very minute pen-drawing. Doubtful. Attributed by a modern annotator to Pisanello.
Horse or camel, seen from behind ; at the side another animal of the same kind. To the left, two legs. Pen. On reddish paper. F. 21.
An ox, standing, turned to the left. No. 25. Pen and Italian chalk, on grey paper.
An ox, moving to the left. An ass lying down; another ass moving to the right ; another ass, ridden by a man. No. 30. Pen and Italian chalk.
An ox lying down, facing to the right. On the back a sketch of a recumbent animal. No. 37. Red chalk. Doubtful.
Two dogs' heads, one in profile to the right. (no. 27), the other to the left. Pen.
A pelican or phenix. 97 V. No. 76. Pen, on purplish paper.
Three dragons. No. 52. Italian chalk and pen. On the back, a study for a cuirass or flowered bodice. Pen.
Profile head of a monster; a human head with curved horns, the mouth open, wings instead of ears, a goître falling from each cheek and pendant breasts. No. 42. Pen and red chalk. R. A. 99.
A monster, with four paws, armed with claws, and a bristly head, moving to the right. Pen and Italian chalk.
Two heads of monsters, seen from in front; one rather like a dog. Pen. No. 40. (Gros venor Gallery, no. 37.)
Profile of a monster, looking to the right. Two monsters, seen from in front; the one horned. No. 29. Pen. (Grosvenor Gallery, no. 36.)
Profile of a monster, seated, and playing the clarionet. Autographic notes and geometrical diagrams on the back.
K. Landscapes and Topographical Drawings.
Landscape with mountains. (Grosvenor Gallery, no. 45; Richter, pl. xxix.)
Group of trees, no. 127. Red chalk. (Grosvenor Gallery, no. 46?) On the back, another tree with the words “ Quella parte" in Leonardo's writing.
Landscape, with a stream and a ferry. Pen. (Grosvenor Gallery, no. 62.)
Landscape, with buildings on the right-castle, viaduct, etc. Pen.
Seven landscapes or fragments of landscapes, in red chalk. One of them represents the Alps, Several of them bear autograph notes more or less long. Nos. 172, 181, 194, 196, 197.
Landscape, with a waterspout or scene from the Deluge. No. 137. Red chalk. Richter, pl. xxix. Reproduced, vol. ii., pl. 15.
Five highly-finished little landscapes, three with the pen (nos. 133, 124), and two in red chalk (no. 138); buildings, panoramas, a lake
A tree. No. 187. Pen, on blue paper. (Grosvenor Gallery, no. 77; Braun, no. 248.) Reproduced, vol. ii., p. 93.
A tree with its roots. No. 131. Pen.
Two trees, with their roots very apparent. No. 99 ; V. 17. Pen.
Six detached studies, differing in size (nos. 131, 133, 154), of plants, leaves, flowers, berries, acorns (five in red chalk, one a pen drawing). On the back of no. 133, the profile of a beardless man, turned to the right.
A lily. No. 199. Pen drawing, washed with yellow ; has been used for pouncing. (Grosvenor Gallery, no. 97.)
A plant, with thorns and berries. No. 152. Pen. (Grosvenor Gallery, no. 27.)
The front of a castle, with a large round tower in the middle, and the spire of a chapel ; the Château d'Amboise, according to M. Lafenestre. No. 173. Red chalk.
Study of dolomites. No. 199. Large pen drawing.
Four studies of rocks, etc. Nos. 160, 166, 182 (one has no number), mounted on one card. Italian chalk.
Another study of rocks; lower down, on the same mount, two ducks. Pen. No. 136. Doubtful.
Study of rocks, or rather of stratification. No. 161. Pen.
Five studies of waves, whirlwinds, hurricanes and cyclones. Italian chalk or pen. One is numbered 139, another bears several lines in Leonardo's writing.
Five more drawings of waves and rocks. Nos. 132, 135. On one, two autograph lines.
Five studies of whirlwinds, waves, etc. Italian chalk. Nos. 143, 144, 145, 161. The other numbers are not very clear. (Cf. Richter, pl. xxxiv.xxxvii., xxxix.)
Study of whirlwinds and scene from the Deluge. No. 107. Pen and wash. Fol. 76. (Richter, pl. xxxiv.) Partly reproduced, vol. ii. p. 25. Nine geographical charts, mostly in water
colour (Tuscany, Prato, Faenza, Imola, Ferrara, the amorous bird towards her with her left with the l'ia Appia, etc. “Miglia 56 per Arno hand, while, with her right, she picks a flower. da Firenze a l'icho," etc.) Nos. 125, 167, 169, Not in Leonardo's manner; perhaps by Sodoma, 170, 171, 177, 190. The names are written to whom Morelli ascribes it. Should be compartly from right to left, partly in the ordinary pared with the drawing at Weimar. way. (Richter, pl. cxi. cxiv.)
III. Portrait of an old man, with a prominent Map of the world, 1513-1514. In 8 segments. chin and no beard. This seems to me to reNot by Leonardo. Nos. 192, 193. Names present - with some slight exaggeration - the sometimes in capitals, sometimes in cursive same individual as the Ambrosiana drawing. writing, and not in Leonardo's hand. (See (Brogi, 7421. Braun, no. 40). vol. ii., p. 94.)
IV. Three separate drawings, one with a Six plans. Nos. 131, 133, 154. On the back procession ; the second, an old man declaimof 133, the profile of a beardless man looking ing, seen to the waist; the third, seven heads of to the right. In Italian chalk.
Abbés. Only the second is in the manner of
Leonardo ; the first and third are not even of M. Architecture and Varia.
the sixteenth century. (Braun, no. 52.) A column crowned by a vase, on which a
V. Four studies of heads. A he-goat. The naked child kneels, and blows water into a
two upper male heads, fine as they are, have basin. Pen, with a little red chalk, on bluish
nothing to do with Leonardo ; neither has the paper. No. 51.
goat. All three are indisputably the work of A column supporting a man who holds a
Pisanello (the goat recalls the medal of Cecilia basket, from which springs a jet of water ; to
Gonzaga, where he is metamorphosed into a the side, another idea for a fountain. Pen and
unicorn). As for the heads below (the one an red chalk, on blue paper. No. 122. (Richter,
old man, with a huge chin and no beard, turned pl. ci.) Reproduced, vol. ii., p. 153.
to the right, the other a man wearing a falling A rusticated palazzo ; to the right, a portico;
cap and with a grin on his face) they are inin front, a garden with a fountain, and a stream.
deed in Leonardo's manner, but I should not No. 193. A highly finished water-colour. On
venture to pronounce upon their authenticity. the back, plans : “tenga si sempre piene le
(Braun, no. 46.) citerne." G. 7.
VI. Four grimacing profiles, all turned to
the right. A halberd ; an instrument resembling a tor
Thoroughly characteristic of pedo, etc. No. 5. Pen.
Leonardo. (Braun, no. 53.) Emblems. A plough (“ oñi impedimento è
VII. Four heads, caricatures, on two sheets distrutto dal rigore"). Profile of a young man
of paper, arranged in pairs, facing each other. or woman, turned to the left. A cut-out design
In Leonardo's manner. (Braun, no. 55.) (? a caduceus.) No. 44. Pen. On the back,
VIII. Four heads, separated, and facing each various drawings; a bodice, which may well
other ; two caricatures, male and female ; front be a study for the two fine standing figures of
face of a beardless man; profile of another. women described above, p. 268. No. 73.
These seem to me copies. (Braun, no. 54.) Another plough ("hostinato Rigore"). Blue
IX. A man and a woman, to the waist, facing background, as in the “Destinato Rigore."
each other. The man's head is identical with Reproduced, vol. ii., pp. 8, 9.
that in Braun, no. 46. A copy or forgery. Varia, 97 V. Leaves from MSS. containing
(Braun, no. 49.) all kinds of sketches : A man's head, in profile
X. Profile portrait of a middle-aged man to to the left, looking up towards a point of light.
the right; very slight beard. Red chalk. A (Richter, pl. xxxii.) A skull; a column, etc.
blurred drawing, of doubtful authenticity. Silver-point, on blue paper. Geometrical dia
(Braun, no. 50.)
XI. A man of a Rabelaisian countenance, emgrams; three-quarters head of a young woman, turned to the right. Pen. And a number of
bracing a female of corresponding appearance ; small cut-out drawings.
both seen to the bust. Nothing to do with
Leonardo; the workmanship German. Below, VARIOUS COLLECTIONS.
two genii supporting the Medici arms. (Braun,
no. 56.) Collection of the Duke of Devonshire, K.G., at Chatsworth.
Captain Holford's Collection, Dorchester I. Studies for the heads of the Virgin and
House, London. S. John the Baptist in the Virgin of the Rocks. A horseman, in profile. Study for the Sforza Silver-point, on greenish paper. (Braun, no. monument. I only know this drawing through 48.) Reproduced, vol. i., pl. vi.
a communication made to me by Mr. Sidney II. Leda and the Swan. With one knee on Colvin, Keeper of the Prints at the British the ground and the other half bent, Leda draws Museum.
Mr. William Russell's Collection.
DRAWINGS FALSELY ASCRIBED TO
LEONARDO. 1. Caricature; a head crowned with a vine branch. Is called a caricature of Dante. Pen
The illustrations to certain manuscripts and and bistre. Formerly in the Dumesnil Col
printed books have been ascribed to Leonardo, lection.
but without foundation. On this question see II. A horse's skull. Anatomical study. Re- the Ricerche of Signor Uzielli, vol. ii., p. 377– duced replica of a drawing in the British 387. See also above, vol. i., p. 219-220. Museum. Pen and bistre.
A few licentious designs have been ascribed III. Anatomical drawings of a man and a to Leonardo and his entourage. One or two of horse. Pen.
them (A Young Man surprising a Sleeping IV. Female head. Red chalk. (See the Girl-A Fool Making Love to a Girl) Grosvenor Gallery Catalogues, 1877-1878, nos have been engraved by Giovanni Antonio da 671, 672, 676, 814.)
Brescia. (Duplessis, Revue universelle des
Arts, vol. xv., p. 162.)
ENGRAVINGS. A woman's head, almost in profile, the eyes turned upwards. Probably a study for the The ascription to Leonardo of a series of Virgin in the Louvre Saint Anne. A highly- prints, generally catalogued as by him, rests finished drawing. (Engraved in the Grosvenor purely on hypothesis. But several among them Gallery Catalogues, 1877-1878, no. 675.)
-the Muse, the Four Equestrian Statues, the three Heads of Horses — are so completely
worthy of his genius, and, in execution, show The Rev. W. H. Wayne's Collection. so many analogies, not to say identities, with
his drawings that we may admit them without Study of a head, in coloured chalks. From
hesitation into the list of his authentic works. the Richardson and Hudson Collections.
1. The Muse (according to Passavant, Le (Grosvenor Gallery Catalogues, 1877-1878, Peintre Graveur, vol. v., p. 180, no. 2, this is a no. 727.)
man's head !) has many analogies with the Saint John the Baptist of the South Kensington
Museum (reproduced, vol. i., p. 49), especially DRAWINGS WHICH HAVE DISAPPEARED.
when the latter is looked at in profile. Examples A Virgin, and two female heads in profile.
in the British Museum and in the French Belonged to the Elector Palatine. (Venturi,
Cabinet des Estampes. Reproduced, vol. i., Essai, p. 51.)
p. 216. The Circumcision. (Lettere pittoriche, vol. II. Portrait of a young woman. Reproduced, ii., letter no. 92.)
vol. i., p.217. Doubtful. British Museum. Two children, monsters, one with a double III. Four designs for equestrian statues. head. (Lomazzo, Trattato, etc., p. 637.)
Reproduced, vol. i., p. 221. One of them is the Portrait of Amerigo Vespucci. According to exact reproduction of one of the Windsor Vasari, Leonardo made the portrait of the
drawings, reproduced, vol. ii. p. 5. British famous geographer. It was a splendid head Museum. of an old man, done in charcoal. De Toni IV. Head of an old man, slightly turned to doubts whether Leonardo could have painted the right; a hood, disordered hair. (Bartsch, Vespucci in his old age. Vespucci, he says, vol. xiii., p. 241, no. 21.) School of Leonardo. was not yet forty when Leonardo quitted V . Another head of a beardless old man, Florence. He thinks it must have been the front face. (Bartsch, vol. xiii., p. 241, no. 22.) traveller's grandfather whom Leonardo painted; Reproduced, vol. i., p. 220. Formerly ascribed his name was also Amerigo. (Ritratto Leonard- to Mantegna ; school of Leonardo. esco di Amerigo Vespucci, Padua, 1898.)
VI. Another head of an old man, threeIn one of his manuscripts, Leonardo notes quarters to the left; no beard. He wears a that : “Il Vespuccio mi vol dare un libro di double cap. (Bartsch, vol. xiii., p. 242, no. 23.) geometria." (Richter, vol. ii., p. 436.)
In Leonardo's manner, except the mouth, Portrait of Scaramuccia. According to which is not characteristic. The burin is handVasari, Leonardo drew the portrait of Scara- led, exactly as Leonardo handled the pen. muccia, captain of the Zingani, and Giambulari. VII. Three heads of horses. (Bartsch, vol. left the drawing to Messer Donato Valdam- xiii., p. 330, no. 24 ; Passavant, vol. v., p. 54.) brini d'Arezzo, canon of San Lorenzo.
The ascription to Leonardo seems to me incon
testable, and this plate should be definitively B . In the centre vīči ; in six circles near the withdrawn from Verrocchio or Zoan Andrea circumference ACADEMIA LEONARDI in detached (see vol. i., p. 147, note). Two states are known. syllables. Same collections. British Museum ; the Windsor Library has a C. In the centre ACADEMIA fragment of this engraving.
LEONARDI A later copy of this plate is extant. It is in
VIN reverse, and contains some slight changes; the
Same collections. hatchings are different, the tufts between the D. In the centre, on a label, ACHDIA horses' ears are larger, and the mane of the
LRDI horse on the right looks as if it had been
VICI combed. British Museum.
Ambrosiana. VIII. Four interlaced ornaments. Passavant (Peintre Graveur, vol. v., p. 183) only describes
MANUSCRIPTS. three. See vol. i., pp. 225-226, 228-229, 232.
A. In the centre the word viCI : round it the I refrain from cataloguing Leonardo's manuwords ACADEMIA LEONARDI forming a circle. scripts, because that task has already been sucAmbrosiana, British Museum, Cabinet des cessfully performed by Dr. Richter (vol. i., pp. 5 Estampes, Paris.
et seq.) and M. Charles Ravaisson-Mollien. Not six, as misprinted above. E. M.