Raffalovitch, Madame, ii. 103

Raphael, i. 6, 9, 17, 18, 21, 28, 37, 43, 60, 70, 72,
138, 166, 172, 183, 192, 199, 228, 241, 246, 255;
ii. 2, 48, 114, 117, 132, 137, 138, 142, 144, 150,
167, 170, 194, 195, 223

Ravaisson-Mollien, M. Charles, i. 39, 57, 161,
228; ii. 6, 9, 10, 17, 31, 34, 37, 40, 46, 73, 74,
79, 87, 89, 185, 209, 230
Ravaisson, M. Felix, i. 243
Rembrandt, i. 212; ii. 240

Renaissance, Histoire de l'Art pendant la, i. 22;
Les Précurseurs de la, i. 19

Renaissance, The, ii. 52, 53, 110, 114, 115, 151,
173 (the French, 174), 207, 2!3

Resurrection (Berlin Museum), i. 53; ii. 182
Ricci, P., ii. 236

Riccio, A., ii. 81, 85

Richelieu, Cardinal, ii. 126

Richter, Dr. J. P., i. 12, 17, 21, 55, 57, 60, 82, 84,

104, 108, 118, 146, 150, 211, 218, 227, 230; ii.

4, 14, 17, 22, 24, 30, 32, 34, 35, 37, 38, 46, 68,
73, 80, 87, 92, 114, 120, 147, 148, 149, 150, 159,

191, 193, 198, 203, 210, 215

Ridolfi, Signor, ii. 159

Rigollot, Dr., ii. 225

Rigour, unrelenting, i. 8

Rigour, relenting, ii. 9

Rio, ii. 24

Robbia, della, i. 56; ii. 134

Robertet, Florimond (Maréchal de Gié), ii. 109,

120, 175, 176.

Romano, G. C., i. 119, 122, 128, 158

Rome, i. 34 (Church of S. Giacomo, 43),
(Borghese Gallery, 55), 76, 97, 99, 101, 115,
126, 149, 201, 235, 248; ii, 5, 14, 139, 192, 203
Royal Academy, ii. 122, 123, 125, 127, 128
Rubens, ii, 12, 14, 141, 148, 239

Ruble Collection, ii. 165

Rustici, G. F., i. 87; 64, 115, 135, 170

Sesto, Cesare da, ii. 181, 182, 201, 214, 238
Sforza, Cardinal Ascanio, i. 97, 103, 115; ii.
105

Sforza, Duke Francesco, equestrian statue, i.
7, 63, 108, 123, 143, 144—156, 159, 221; ii. 5,
109, 139, 174

Duke Galeazzo Maria, i. 91, 105, 112, 116,
132, 141, 145, 208

Duke Ludovico (Il Moro), i. 12, 32, 46, 86,
87, 90, 91, 92-98, 101, 102, 103, 104,
105-112, 115, 116, 118, 119, 123, 124, 139,
(Leonardo letter to, 142-3), 151, 152, 178,
199, 219, 249; ii. 24, 33, 41, 61, 63, 96,
100, 105-108, 114, 116, 171, 177, 232

Sforza, Maximilian, ii. 191, 192

Bianca Maria, 104, 108, 115, 116, 124, 132,

151, 209

Court of the, i. 85, 91, 227

Simonetta, G., i. 89, 119

Soderini, P., the Gonfaloniere, i. 219, 250; ii.
118, 132, 140, 175, 176, 232

Sodoma, G. Bazzi, I., i. 166, 167, 190, 192,
238; ii. 183, 194

Solario, Andrea, i. 130; ii. 185

Cristoforo, i. 104, 105, 127

South Kensington Museum, i. 49, 57, 158
Spagnolo, F., ii. 138

Springer, Anton., ii. 2, 80, 122

Straparola, Notti ii. 30

Suardi, B., i. 131

Three Dancing Girls or Bacchantes, i. 160

Timbal, C., ii. 142

Tintoretto, i. 35

Torre, Marc Antonio della, ii. 81, 84

Torrigiano, Pietro, ii. 119

Vasari, G., i. 10, 14, 15, 17, 18, 20, 21, 27, 35, 46,
47, 56, 57, 75, 77, 85, 124, 145, 153, 187, 210,
225; ii. 66, 84, 98, 121, 123, 135, 136, 138, 139,
142, 150, 155, 157-58, 159, 164, 170, 195, 197,
198, 205, 220, 221, 225, 226, 228, fresco Court
of Leo X., 227-228

Vatican, i. 40, 79, 230, 231, 234, 235: ii. 66,

Vignole, i. 19

Villanis, B. di, ii. 218, 224

Vinci, hamlet of, i. 7; ii. 18
Vinci, F. da, i. 13; ii. 171
Vinci, G. da, ii. 203

Vinci, Leonardo da, i. drawings, 1-2, 210; un-

captivated by fair sex, 3; their artistic
treatment, 3-4; as a sculptor, 4-5; poet, 5;
scientist, 6; birthplace, 7; parents and
kindred, 10-13; ii. 171, 219; genealogy, i.
15; handsome, strong and dexterous, 15-
16; character, 17; varied talents, 18; pupil
of Verrocchio, 21, 35; their contrast, 26;
master and fellow-students, 26-34; refuta-
tion of calumny, 32; art thesis, 34 5; in-
fluence on master, 36; early efforts, 35, 37;
method of handwriting, 38, 39, 141, 227-
229; ii. 62, 103; collaboration of Vinci and
Verrocchio, 37-44; first shield, 45-6, 141;
early cartoons, 47; ascribed works, 49–54,
219-221; early drawings, 54-56; efforts in

sculpture, 56; canal projects, 56, 143, 175;
ii. 98; dated works, i. 57; fame in Florence,
58; study of death agonies, 59-60; works
uncompleted, 58, 62, 78; lacked precision.
of conception, 66; classic inspiration, 67,
75; love and study of horses, 74, 146-148,
150; his influence, 74, 159, 225–227 ; ii. 132;
conception of a picture, i 76; compositions
devoid of portraiture, 77; evolution of paint-
ing, 78, 80; enters Guild of Painters at
Florence, 79; ii. 133; tendencies, i. 80-
81; quits Florence, 82; theory of travels to
East, 82 85; ii. 62; fond of geography, i.
85; ii. 93-94; at the Court of Milan, 85-87,
118; musical talent, 86, 106, 205 ; influence
on Milanese school, 91, 129, 130, 131; patron
and friends, 92-101; called to Vigevano,
103; contracts to finish works, 104, 178;
pageants. 107; princely patrons, 114-115,
118; contact with D. Lodovico, 120-122;
indifferent courtier, 122; income, 123, 185;
ii. 136, 193, 207. Style of living, i. 123; ii.
135. Milan contemporaries, i. 126–134, 139;
his art and theirs, 134-136; letter to Duke of
Milan stating skill, 142-143; felt restraints
of architecture, 150; Sforza statue, dilatori-
ness, 150-151; its explanation, 186, 210;
experiments in bronze casting, 152-153;
impassive, 156; in sculpture and painting
equal, 158; chronology of works, 161 ; agree-
ment for Virgin of the Rocks, 162; use of
greenish paper, 164, 165, 166, 167, 175, 211;
process of adaptation, 167; germs of his
art of gesture, 171; neutral shades, 173;
love of rocky landscape, 174; opposed to
fresco, 179, 246; matured study in Last
Supper, 183 184; its unfinished state ex-
plained, 187; an epoch in painting, 191;
architectural attitude, 196-197; ii. 4, 5;
work in Castle of Milan, i. 202-205; easel
pictures and portraits, 205-208; ii. 154-
160. Methods, i. 210-211; grotesque draw-
ings, 217-218; list of his drawings, 218;
architectural designs, 222-224; manuscripts,
227-230; treatise on painting, 230-245,
253; his pigments, 246; pupils, 254-255;
ii. 232-238. His studio, i. 256.

ii. The antique and nature, 2-3; the nude, 6;
abstract and idealistic mind, 6; draperies,
6-7; symbolism, 9-10; the antique, 11-16;
meagre education, 18-19; catalogue of his
library, 21-2, 82; interest in poetry, 23; as
poet, 24-7; fabulist, 27-29; moralist, 30-31;
religion, 32-34; Prophecies or Enigmas, 35-
38; indifferent to money, 38; philosophy,
39-44; scientific labours, 46-60; Alpine ex-
cursions, 59, 92, 207; occult sciences, 61-70;
mathematical studies, 71-74; knowledge of
steam, 73-74; inventive power, 74, 94; ac-
quainted with screw and parachute, 74-75 ;
physics, 75; optics, 76-77; colour, 78-79;
acoustics, 79; natural science, 81-82; an-
atomical studies and drawings, 83-86;
ideas on medicine, 86-87; geological views,
35, 89-92; as engineer, 95; position as
regards canals, 95-102, 187, 214; loss of
patron, Duke of Milan, 108; leaves Milan
for Mantua and Venice, 109, 110, 115;
sought by Isabella d'Este, 110-113; con-
joint labours as engineer and painter, 114;
serves Cæsar Borgia, 114, 118; at Florence,
115-118; Borgia's patent, 119; official

5210 X

travels, 119-120; cartoon of S. Anne, 121-
132; variety of life, 124; landscape art,
131-132; joins Florentine life, 133; work
at Palazzo Vecchio, 136; Battle of Anghi-
ari contract, 136; Michelangelo's aversion,
138; fails in process with Battle of Anghiari,
leaves Florence, 139; Mona Lisa Gioconda,
her sittings, 155; his female ideal, 160-163;
draperies, 162, 163; pupils at Florence,
170; occupations, 171; death of father and
uncle lawsuit and letter to Cardinal d'Este,
171, 186; goes to Milan, esteemed by
Maréchal de Chaumont, 176–7 by Louis
XII., 178, 179, 186-187; letter to Chaumont,
188-189; master of ceremonies at Milan,
189; at Vaprio, 189; old before his time,
192; tries Rome, Milan, and Florence,
192, 193, 203-204; in suite of G. de' Medici,
193; companions, 194; lodged by Pope
Leo X., 196; petty troubles, 198-99; me-
chanical lion, 205; honoured by Francis I.,
207; home at Amboise, 209-211; paralysis
of right hand, 211, 216; unreceptive French
pupils, 213; his will, 216-220; death, 220;
in arms of Francis I., 221-2; portraits of
him, 217, 221, 225-231; patrons, 232;
artistic influence, 239-240

Vinci, Lesandra, ii. 203

Pierino, i. 14

Piero Antonio da, i. 10, 45, 46
Tommaso da, i. 14

Virgin and Child with a Donor, ii. 200, 201
Virgin holding the Infant Jesus, ii. 197
Virgin of the Bas Relief, ii. 181
Virgin of the Magnificat, i. 31

Virgin of the Rocks, i. 27, 40, 44, 53, 63, 134
162-175, 246; ii. 128, 130, 160, 161
Virgin with the Carnation, i. 51, 52
Virgin with the Scales, ii. 127, 181, 182
Virgin, The, Sforza at the feet of the, ii. 41
Visconti, Gasparo, i. 98-9, 138, 139
G. Galeazzo, i. 128
Ippolita, i. 100
Lucia, i. 110
Vitruvius, ii. 4, 5

Waggon and horses, sketch, ii. 104
Wallace Museum, i. 132

War Chariots, Design for, ii. 105
Warrior, i. 55, 57

Weapons, designs for, ii. 97, 100
Weimar Museum, i. 33, 38
Windsor, Royal Library, i. 2, 4, 5, 13, 16, 43,
44, 53, 54, 55, 56, 74, 79, 83, 89, 107, 121, 125,
128, 133, 137, 146, 147, 148, 149, 152, 153, 156,
157, 160, 161, 163, 166, 169, 175, 176, 177, 188,
189, 190, 193, 231, 233, 236, 245, 249 ; ii. 1, 4,
5, 8, 12, 15, 17, 25, 44, 45, 49, 65, 84, 88, 89,
92, 93, 101, 127, 129, 132, 134, 137, 145, 147,
149, 153, 155, 157, 160, 161, 162, 166, 167, 182,
183, 185, 201, 204, 205, 206, 208, 221, 225, 226,
228, 229, 230

Yriate, M. Charles, i. 11, 114; ii. 39, 110, III,
124

Zacchia of Lucca, L., ii. 141

Zenale, B., i. 131, 133, 187, 229 ; ii. 35, 41, 200