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Bust of a beardless old man, in profile to the Head of a woman, three-quarters to the right. Pen. No. 58.

right, the eyes downcast, the hair in disorder: Head of a beardless old man, in profile to the Italian chalk, on prepared paper. Nothing to left, with a very aquiline nose and a long chin. do with Leonardo. A modern inscription below Pen. No. 19.

attributes this drawing to Gaudenzio Ferrari. Two heads in helmets, in profile to the right. But the delicate, vaporous handling is just as Pen. No. 49. Reproduced, vol. i., p. 16. closely akin to that of Sodoma. (Braun, no.

A head in a helmet, in profile to the right; 256.) another head in profile beside it. Pen. No. 19. Head of a young woman, three-quarters face,

Head of an aged man with a beard, almost turned to the right. No. 15. A slight sketch in profile to the right ; the forehead very wide in red chalk. On the reverse, a man ascending, and lofty. Pen No. 42.

another descending; a knee, an eye, and the Three heads of beardless old men, in profile lower part of a naked figure. Pen. to the right. Cut out. Pen. Nos. 11, 16, 17. Bust of a woman, three-quarters face, turned

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

shoulders bare, the dress cut open across the Head of an old man, in profile to the left, his breast. No. 217. Red chalk on red paper. eyes fixed on some luminous point. Autograph Head of a young woman, with wavy hair ; notes. Pen. (Richter, pl. xxxii.)

three-quarters face, looking to the right. No. Head of an old man, in profile, with measure- 14. Red chalk. (Braun, no. 231.) On the rements and an autograph note.-A naked man verse, a whole page of Leonardo's handwriting. standing. Pen. (Grosvenor, no. 83.)

A similar head, drawn with the pen, appears Head of an old man, with a long beard, his in one of Leonardo's MSS., in the parcel marked hair and moustache plaited. In profile to the Varia. right. Reproduced, vol. ii., p. 225.

Head of a young woman, three-quarters to Head of an old man, in profile to the right, the right; the eyes downcast. On one side, the with a prominent chin. No beard. Facing it, head of a beardless man, also turned to the also in profile, the head of a man with thick right. Red chalk. Two men carrying a litter. lips and a receding chin. Pen and wash. A dial, etc. Pen. Autograph notes. (Braun, no. 236.)

Head of a young woman, in profile. She Bust of a beardless old man, with strongly bears a strong likeness to the young woman of marked features, and an aggressive expression, the Vallardi Collection. (Braun, no. 168.) The in profile to the right. Thick hair. No. 37. head-dress and gown are the same; but the Red chalk. (Grosvenor Gallery, no. 19 ; Braun, head is less inclined, and the expression less no. 218.) See vol. i., p. 238.

sentimental. Turned to the left. Silver-point,

on blue paper. (Grosvenor, no. 5; Braun, no. D. 3.- Women.

229.) Reproduced, vol. i, p. 5.

Head of a young woman, in profile to the Studies of female heads and hands. Three right; the eyes downcast; the features rather large drawings in silver-point on pink tinted heavy; the nose short and straight; the chin paper. The one with the heads is numbered 49. prominent. She bears a striking likeness to Doubtful.

Luini's Saint Catherine (portrait of the Contessa Head of a woman, full face, looking towards di Cellante) in the Monastero Maggiore at the left. Red chalk. (Grosvenor Gallery, Milan. I should therefore ascribe this drawno. 14 ; Braun, no. 252.) Not by Leonardo. ing, not to Boltraffio, as does the note pencilled

Head of a young woman, full face, looking upon it, but to Bernardino Luini. (Grosvenor, towards the left, her neck bare. In colour. no. 7; Braun, no. 230.) (Braun, no. 253.) Not by Leonardo. A note Portrait of a young woman, in profile to the in pencil ascribes it to Giampietrino.

right. Silver-point, on pink paper. A beautiful A young woman, with serious features, drawing. Reproduced, vol. i., p. 4. almost full face, turned slightly to the left, the Portrait of a woman, in profile to the right. nose rather short, vacant eyes, the hair con- Black chalk; the outline pricked as if for cealed by a head-dress. No. 45 or 46. Red pouncing. Certainly not by Leonardo. No. 48. chalk. (Braun, no. 226.) Very doubtful. The type, a very unattractive one, bears a

A woman, half length, three-quarters face. certain likeness to that of Theodorina Cibo, Cut out. Italian chalk. Doubtful.

daughter of Pope Innocent VIII. (Braun, no. Head of a young woman with flowing hair, 234.) three-quarters face, the eyes rather haggard; A woman, half-length, in profile to the right. looking to the left. Silver-point on bluish A haughty expression. No. 39. Italian chalk, paper. (Grosvenor, no. 6; Braun, no. 228.) with a little red chalk. Authentic, though Reproduced, vol. i., pl. 13.

slightly affected. (Braun, no. 232.)

disordered hair, in profile to the right. No, 19. E. Caricatures.

Pen. Five grotesque heads. Among them a so- A beardless old man, in profile to the right, called portrait of Dante. Pen. Reproduced, a high conical cap on his head. No. 33. vol. i., p. 249. This drawing should be com Grotesque heads. Cut out.-Head of a pared with similar ones in the Louvre and the beardless man, in profile to the right. No. 65. Weimar Museum. On the reverse, several Pen. lines-in Leonardo's handwriting.

Idem, with a pointed nose. No. 48. Pen. Eight grotesque heads of men and women, Idem, with a beard and an aquiline nose. all in profile. Pen. (Grosvenor Gallery, no. 22 ; Idem. Braun, no. 237.)

Idem. Five grotesque heads, cut out, all in profile Idem, no. 31. (four to the right, one to the left). Nos. 29, 39, Head of a bearded man, in profile to the 62, 63. Pen. Great freedom in the handling. right. His hands on a stick. No. 25. Pen,

Four grotesque heads, facing each other, in on bluish paper. profile, two male, and two female. Red chalk.. Bust of a beardless old man, in profile to the No. 43. (Grosvenor, no. 23 ; Braun, no. 236.) right, with a very strongly marked nose and

Two heads, facing each other. One, an old chin, a cap on his head. Pen. man turned to the right; the other, with a pointed An aged person, with a hooked nose, in nose, turned to the left. No. 37. Pen.

profile to the right, his hair pulled over his A grotesque head of a man, and one of a forehead. Some cyphers on the sheet. No. 7. woman, facing each other ; the man in profile Pen. Cut out. to the right : the woman in profile to the left. A beardless, bald old man, half-length, in The woman wears a high head-dress. No. 36. profile to the right. No. 22. Pen.

An old man, in profile to the right, no beard, Two heads. A woman, in profile to the left ; his chin almost touching his nose. No. 2. the nose shrivelled. She wears a high head. Pen. dress, and stretches out her hand. The man, Beardless old man, profile to right ; promithree-quarters face, grinning. Pen.

nent nose, retreating chin. Pen. A grotesque personage, in profile, with a Grotesque head of a woman, nose atrophied, broken nose and nut-cracker chin. (Braun, no. enormous chin, extravagant head-dress. Red 236.) This type re-appears twice in the Duke chalk. No. 32. (Grosvenor Gallery, no. 24 ; of Devonshire's collection, (Braun, nos. 46 and Braun, no. 239.) 49) once alone, once, as at Windsor, facing Head of an old woman with a goître. The an old woman, whose hair, elaborately dressed upper part of the head wanting. Profile to the in a pyramid, recalls the head-dress of a right. On the back some of Leonardo's writing. Marquise of the last century.

Pen. No. 59. Head of an old man, in profile to the right, looking up; a cap on his head. No. 13. Pen. F.---Torsoes, hands, feet and other fragments.

Head of an old man, in profile to the right, no beard, prominent nose and chin, a cap on his Two male torsoes (after the statue of head. No. 60. Pen. On the reverse, an in- Pasquin ?). A horseman and two men on foot, scription in Leonardo's handwriting.

fighting. The profile of a leg, turned to the Head of a beardless man, in profile to the right. Pen and red chalk. Autographic right, with a prominent chin. No. 66. Pen. inscription. (Richter, pl. xxi. ; Braun, no, 204.)

Head of a grotesque personage, in profile to Study for the hands in the Mona Lisa. the left; the lower lip thrust out. Pen.

Higher up, the profile of an old man, in small. Bust of a stout, beardless old man, in profile According to Mr. Holmes this drawing has to to the right, the lower lip thrust out. No. 24. do with the Hora, at Hampton Court. No. Pen. On the reverse, a face, lightly sketched. 210. Silver-point, heightened with white, on

Head of a beardless old man, in profile to pink paper. See above, vol. ii., p. 157. the left. No. 20. Pen.

Two hands, interlaced. No. 212. Italian Two grotesque heads of old men, facing each chalk. (Grosvenor Gallery, no. 71; Braun, other. One, with toothless jaws, in profile to no. 240.) the right, bears a vague resemblance to the so- Front of a hand, resting on a table. Red called Savonarola in the Albertina at Vienna; chalk. (Grosvenor Gallery, no. 68.) the other has thick lips, and a nose dispropor- The same hand seen in profile. No. 211? tionately short. No. 52. Pen. (Braun, no. 238.) Red chalk. (Grosvenor Gallery, no. 67.)

An old man with a hooked nose, in profile to Very slight studies of hands, in silver-point, the right. Pen.

on pink paper. A right hand, with the first A grotesque old man, with a straight nose and 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. 93 ; 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.

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 face, 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.

G.-Anatomy.-- Proportions.-Attitudes.

The anatomical drawings at Windsor have all either been published or are about to be. (Mathias Duval et Bical, L'Anatomie des Maîtres, Paris, 1890-1891.--Sabachnikoff, Piumati, and Mathias Duval, I Manoscritti di Leonardo da Vinci della Reale Biblioteca di Windsor, Dell' anatomia, vol. i., Paris, 1898, et seq.)(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 ; fætus, etc.

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

F. 39-47. Sketches of the vertebræ, 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.)

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. Biack 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 the Sforza Monument and Sketches for the frame of an equestrian statue. various studies of Horses.

Long autograph notes. F. 52.

A similar item. F. 51. Studies for the Sforza group. A rearing horse,

Sketches for circular and rectangular pedestals turned to the right, its rider stretching out his

ut his for the equestrian statue, and for various

for the ed right arm. An equestrian statue on a pedestal, machines. No. 18. Pen. Notes. R. A. 78. a fallen man raising himself to defend himself

Equestrian group, horse rearing. F. 46. against the horse. A similar drawing. Another, An equestrian group, the horse moving to the no. 17. Pen. Rather archaic in appearance

left, its rider turning in the saddle. Lower down, and clumsy in its proportions. R. A., no. 70.

a pedestal with a recumbent statue. No. 49. F. 37. (Richter, pl. lxvi. ; Braun, no. 181.)

Pen and red chalk, corrections and alterations A rearing horse. Five heads of neighing in red chalk. On the back a tracing (? more horses. A lion's head. Profile head, to the

recent in date) of the horse. R. A. 67. F. 39. right, of a man shouting; analogous to the

Reproduced, vol. i., p. 157.

Reproduced, vol. i. Medusa in the Scipio of the Rattier Collection.

A rearing horse ; the rider, seen from behind, A horse trotting, with his head turned towards

stretches his right hand out backwards. No. 114. his flank. On the back, autograph notes, a

Silver-point on blue paper. Autograph notes on horse's head, and some geometrical drawings. the back. R. A. 67. F. 40. Reproduced, vol. i., F. 65. Reproduced, vol. i., p. 161.

p. 213. A rearing horse, to the left, head to the right. - Front view of a horse. High upon the left, Italian chalk. F. 66.

the back view of a horse. Autograph note. Pen. Two groups of horses biting each other. A

F. 48. horseman beating a half-fallen horse. Two men,

Front view of a horse. No. 124. Silver-point, one pursuing the other. (? Studies for the Battle

Battle on blue paper. F. 28. of Anghiari.) No. 109. Pen. F.67. On the

on the Horse, in profile to the right. Hind quarters back : Study for a bodice. Red chalk. A horse of another horse in the same position. Silverrearing, to the left, and throwing back his head.

point on blue paper. F. 29. No. 112. Red chalk. F. 68.

Horse, in profile to the right. Chest and foreStudies of horses. Heads of old men, turned legs of another horse. No. 105. Silver-point, to the right. Standing figures. (An angel on blue paper. R. A. 77. F. 56. Reproduced, raising the right hand, not by Leonardo.) Draw- vol. i., pl. 6. ings of machines. On the back : horses in Profile to the right of a horse, standing. Profile various attitudes, one in profile, and geometrical of a "near” hind-leg ; the same leg seen from figures. No. 53. Pen. F. 59.

behind. No. 35. Pen. F. 1. Horse charging to the right and neighing Horse walking, to the right. Lower down, a Higher up, the hind quarters of another horse. three-quarters view of a horse walking to the No. 111. Silver-point, on pink paper. F. 62. right. Another horse, seen from behind. Pen

A horse rearing to the right, over a tree trunk. and chalk. A horse carrying a rider whose The armed rider holds a sceptre in his right right arm is stretched out behind him. R. A. 74. hand. No. 3. Silver-point on blue paper. F. 45. (Braun, no. 184.) Rep., vol. i., pp. 44, 89. R. A. 66. F. 36. Reproduced, vol. ii., p. 5. Four horses, three of them mounted, walking (Original of one of the horses reproduced, towards the right. Indications of other horses. vol. i., p. 223.)

No. 19. Italian chalk. R.A. 75. F. 57. Three horses in profile, moving to the right. (Richter, pl. lxxiii.) The centre of drawing The lowest carries a horseman, who holds a reproduced, vol. i., p. 148. sceptre in his right hand. No. 12. Italian Five horses, one in profile to the right, another chalk. R. A. 69; F. 38. The lower part repro- seen from behind, etc. A very small horse duced by Dr. Richter, pl. lxx. (Braun, no. moving to the left. No. 48. Silver-point and 182.)

chalk, on pink paper. F. 15. A horse rearing, to the right, over a prisoner. Horse in profile, moving to the right, A The naked rider brandishes a sword in his right horse's head. Italian chalk. F. 44. hand. Lower down, an indication of archi- A horse moving to the right, his rider holds a tecture. No. 45. Italian chalk. R. A. 66. F. sceptre outstretched. No. 50. Pen. R.A. 80. 35. Partly reproduced, vol. ii., p. 160.

F. 43. Sketches of machines, and small profile of an Five horses, some with, some without riders, old man, turned to the right. Frame for a [All have riders, but on two these are but charging horse. MS. fragments. R. A. 81. slightly indicated.-ED.] No. 121. Black F. 60.

chalk or pen. (Richter, pl. Ixix.) Frame for an equestrian statue, etc. No. 30. Horse upsetting an urn. Two horses rearing Pen and red chalk. R. A. 79. F. 53.

over an enemy. Two horses walking. R.A. 65. A similar drawing. Pen. F. 59. Autograph F. 41. Partly reproduced, vol. i., p. 156. notes on both sides of the sheet.

Two horses in profile, one standing, the other VOL. II.

Ν Ν

moving to the left. Indications of more horses, Hind-quarters of a horse, turned to the left. one with a rider. No. 103 (? 105). Same Part of a horse seen from behind. A horse s technique. F. 9.

nostrils. No. 47. Silver-point, on pink paper. Horse in profile, turned to the left. Hind- F. 14. quarters of another horse. No. 42. Pen, with Four fore-legs, two turned to the right, the diagrams. F. 33.

other two to the left. No. 104. Silver-point, Horse moving to the left. Very small. No. heightened with white on pink paper. F. 20. 18. Pen. Reproduced, vol. ii., p. 132. F. 24. Two fore-legs raised and one straight.

Horse harnessed between two wheels and No. 102. Red chalk. F. 3. bearing a rider. Pen and red chalk. F. 23. Two fore-legs, seen in profile ; a fore hand,

Back view of a horse lying down. Front face with both legs : a bent fore-leg No. 101. Red of a woman. Vague sketches. Pen. F. 31a. chalk. F. 19.

Standing horse, turned to the left. Fore- Study for a near fore-leg, with autographic foot of another horse. Autograph notes. Silver- notes and figures. Pen. R.A. 72. F. 49. point, on blue paper. On the back, a horse in Measurements of fore-legs, two straight, two red chalk. No. 113. F. 31.

bent. Autographic notes. Pen. On the back, Sheets of studies of horses, mostly taken from tracings from the same. F. 55. manuscripts. F. 81.

Profile of a near fore-leg, turned to the left. Fireworks springing from three points. Pen. No. 16. Red chalk. F. 2. On the back a horse rearing, to the left, and Fore-leg, in profile. No. 20. Italian chalk two women with a child, etc. No. 26. Italian and pen. On the back, a palace with flanking chalk and pen. F. 74.

pavilions and a bridge in front. Italian chalk. Two heads of horses, profile and front face, F. 18. with notes. Two fore-legs of horses. No. 13. A near fore-leg. No. 38. Pen, with slight Italian chalk, with notes in ink, on pink paper wash. F. 27. R.A. 76. F. 54.

Profile of a fore-leg. No. 9. Pen. F. 26. Two heads of horses, profile to the right and Fragmentary drawing of a horse raising his front face. Lower down, a horse seen from off fore-leg. Fore-leg of another horse. Pen behind, and another turned to the right. No. and Italian chalk. On the back, slight sketches 120. F. 32a. Reproduced, vol. i., p. 128.

of more legs. F. 17. Head of a horse, turned, to the left. No. 116; Hind-leg raised and fore-shortened. Other ditto, to the right, no. 117. Red chalk. Doubt- hind-legs. Slight indications of a horse, moving

to the right. No. 21. Pen, on pink paper. F. 12. Head of a horse, neighing. No. 89. Pen. Four horses' legs. Italian chalk. On the An autograph note on the back. No. 247. back, a leg (pen) with figures, and another leg

(red chalk). Three-quarters head of a bearded Front view of a horse's chest. Two hind-legs. man, looking to the left : front face (nearly) of a No. 110. Pen, on brownish paper. F. 11. beardless man. No. 23. Pen. F. 30.

Fragment of a horse moving, to the left. Slight sketches of legs. No 33. Italian No. 15. Italian chalk. On the back, the chalk. F. 6. hind-quarters of a horse : a fore-leg and chest. Confused sketches of legs. No. 34. SilverPen and black chalk. F. 16.

point, slightly washed. F. 5. Middle-piece of a horse, in profile to the left. Five legs. No. 106. Pen, on blackish paper. Black chalk heightened with white, on blue. F. 8. paper. F. 22.

Four legs, similar to the last. No. 118. Hind-quarters of six horses. No. 103. Red Same method. F. 10. chalk. R.A. 71. F. 47. Reproduced, vol. i., p. 152. Four legs, three in profile, all raised. Red

Fragmentary studies of horses ; one in profile chalk. F. 4. to the right; a fore-hand, with raised leg ; two hind-quarters. No. 100. Italian chalk. F. 9.

J. Various Animals. Four studies of a horse's hind-quarters. Head of a lion, with an autograph note. No. 119. Pen. R.A. 72. F. 50. Reproduced, No. 115. Pen, with a little red chalk. F. 77. vol. i., p. 153.

Muzzle of a lion, in profile to the right. Head Hind-quarters of a horse rearing, to the left. of a lion, front face. No. 17. Italian chalk. Black with a little red, chalk. F. 63.

On the back, head of a beardless old man, Hind-quarters of a horse rearing, to the left ; in profile ; on the right, a foot, etc. Geomeindications of two more horse. Italian chalk, trical figures. Autograph note. Pen. slightly washed. F. 64.

Studies of cats, leopards, and a dragon. Pen. Unfinished sketch of a horse, moving to the Autograph note. F. 72a. (Grosvenor Gallery, right. Hind-quarters of another horse. No. 39. no. 58; Braun, no. 247.) Partly reproduced, Pen, on pink paper. F. 13.

vol. ii., p. 185.

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