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 phoenix. 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. (Grosvenor 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.

F. Trees-Plants-Fruits.

A tree. No. 187. Pen, on blue paper. (Grosvenor Gallery, no. 77; Braun, no. 248.) Reproduced, vol. ii., p. 93.

Pen.

A tree with its roots. No. 131. 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.)

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.)

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

or sea.

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, with the Via Appia, etc. "Miglia 56 per Arno da Firenze a Vicho," etc.) Nos. 125, 167, 169, 170, 171, 177, 190. The names are written partly from right to left, partly in the ordinary way. (Richter, pl. cxi. cxiv.)

Map of the world, 1513-1514. In 8 segments. Not by Leonardo. Nos. 192, 193. Names sometimes in capitals, sometimes in cursive writing, and not in Leonardo's hand. (See vol. ii., p. 94.)

Six plans. Nos. 131, 133, 154. On the back of 133, the profile of a beardless man looking to the right. In Italian chalk.

M. Architecture and Varia.

A column crowned by a vase, on which a naked child kneels, and blows water into a basin. Pen, with a little red chalk, on bluish paper. No. 51.

A column supporting a man who holds a basket, from which springs a jet of water; to the side, another idea for a fountain. Pen and red chalk, on blue paper. No. 122. (Richter, pl. ci.) Reproduced, vol. ii., p. 153.

A rusticated palazzo; to the right, a portico; in front, a garden with a fountain, and a stream. No. 193. A highly finished water-colour. On the back, plans: "tenga si sempre piene le citerne." G. 7.

A halberd; an instrument resembling a torpedo, etc. No. 5. Pen.

Emblems. A plough ("oñi impedimento è distrutto dal rigore"). Profile of a young man or woman, turned to the left. A cut-out design (?a caduceus.) No. 44. Pen. On the back, various drawings; a bodice, which may well be a study for the two fine standing figures of women described above, p. 268. No. 73. Another plough ("hostinato Rigore"). Blue background, as in the "Destinato Rigore." Reproduced, vol. ii., pp. 8, 9.

Varia, 97 V. Leaves from MSS. containing all kinds of sketches: A man's head, in profile to the left, looking up towards a point of light. (Richter, pl. xxxii.) A skull; a column, etc. Silver-point, on blue paper. Geometrical diagrams; three-quarters head of a young woman, turned to the right. Pen. And a number of small cut-out drawings.

VARIOUS COLLECTIONS.

Collection of the Duke of Devonshire, K.G.,

at Chatsworth.

I. Studies for the heads of the Virgin and S. John the Baptist in the Virgin of the Rocks. Silver-point, on greenish paper. (Braun, no. 48.) Reproduced, vol. i., pl. vi.

II. Leda and the Swan. With one knee on the ground and the other half bent, Leda draws

the amorous bird towards her with her left hand, while, with her right, she picks a flower. Not in Leonardo's manner; perhaps by Sodoma, to whom Morelli ascribes it. Should be compared with the drawing at Weimar.

III. Portrait of an old man, with a prominent chin and no beard. This seems to me to represent with some slight exaggeration - the same individual as the Ambrosiana drawing. (Brogi, 7421. Braun, no. 40).

IV. Three separate drawings, one with a procession; the second, an old man declaiming, seen to the waist; the third, seven heads of Abbés. Only the second is in the manner of Leonardo; the first and third are not even of the sixteenth century. (Braun, no. 52.)

V. Four studies of heads. A he-goat. The two upper male heads, fine as they are, have nothing to do with Leonardo; neither has the goat. All three are indisputably the work of Pisanello (the goat recalls the medal of Cecilia Gonzaga, where he is metamorphosed into a unicorn). As for the heads below (the one an old man, with a huge chin and no beard, turned to the right, the other a man wearing a falling cap and with a grin on his face) they are indeed in Leonardo's manner, but I should not venture to pronounce upon their authenticity. (Braun, no. 46.)

VI. Four grimacing profiles, all turned to the right. Thoroughly characteristic of Leonardo. (Braun, no. 53.)

VII. Four heads, caricatures, on two sheets of paper, arranged in pairs, facing each other. In Leonardo's manner. (Braun, no. 55.)

VIII. Four heads, separated, and facing each other; two caricatures, male and female; front face of a beardless man; profile of another. These seem to me copies. (Braun, no. 54.)

IX. A man and a woman, to the waist, facing each other. The man's head is identical with

that in Braun, no. 46. A copy or forgery. (Braun, no. 49.)

X. Profile portrait of a middle-aged man to the right; very slight beard. Red chalk. A blurred drawing, of doubtful authenticity. (Braun, no. 50.)

XI. A man of a Rabelaisian countenance, embracing a female of corresponding appearance; both seen to the bust. Nothing to do with Leonardo; the workmanship German. Below, two genii supporting the Medici arms. (Braun, no. 56.)

Captain Holford's Collection, Dorchester
House, London.

A horseman, in profile. Study for the Sforza monument. I only know this drawing through a communication made to me by Mr. Sidney Colvin, Keeper of the Prints at the British Museum.

Two children, monsters, one with a double head. (Lomazzo, Trattato, etc., p. 637.)

Portrait of Amerigo Vespucci. According to Vasari, Leonardo made the portrait of the famous geographer. It was a splendid head of an old man, done in charcoal. De Toni doubts whether Leonardo could have painted Vespucci in his old age. Vespucci, he says, was not yet forty when Leonardo quitted Florence. He thinks it must have been the traveller's grandfather whom Leonardo painted ; his name was also Amerigo. (Ritratto Leonardesco di Amerigo Vespucci, Padua, 1898.)

In one of his manuscripts, Leonardo notes that: "Il Vespuccio mi vol dare un libro di geometria." (Richter, vol. ii., p. 436.)

Portrait of Scaramuccia. According to Vasari, Leonardo drew the portrait of Scaramuccia, captain of the Zingani, and Giambulari left the drawing to Messer Donato Valdambrini d'Arezzo, canon of San Lorenzo.

The illustrations to certain manuscripts and printed books have been ascribed to Leonardo, but without foundation. On this question see the Ricerche of Signor Uzielli, vol. ii., p. 377387. See also above, vol. i., p. 219–220.

A few licentious designs have been ascribed to Leonardo and his entourage. One or two of them (A Young Man surprising a Sleeping Girl-A Fool Making Love to a Girl) have been engraved by Giovanni Antonio da Brescia. (Duplessis, Revue universelle des Arts, vol. xv., p. 162.)

ENGRAVINGS.

The ascription to Leonardo of a series of prints, generally catalogued as by him, rests purely on hypothesis. But several among them -the Muse, the Four Equestrian Statues, the three Heads of Horses are so completely worthy of his genius, and, in execution, show so many analogies, not to say identities, with his drawings that we may admit them without hesitation into the list of his authentic works.

I. The Muse (according to Passavant, Le Peintre Graveur, vol. v., p. 180, no. 2, this is a man's head) has many analogies with the Saint John the Baptist of the South Kensington Museum (reproduced, vol. i., p. 49), especially when the latter is looked at in profile. Examples in the British Museum and in the French Cabinet des Estampes. Reproduced, vol. i., P. 216.

II. Portrait of a young woman. Reproduced, vol. i., p. 217. Doubtful. British Museum. III. Four designs for equestrian statues. Reproduced, vol. i., p. 221. One of them is the exact reproduction of one of the Windsor drawings, reproduced, vol. ii. p. 5. British Museum.

IV. Head of an old man, slightly turned to the right; a hood, disordered hair. (Bartsch, vol. xiii., p. 241, no. 21.) School of Leonardo.

V. Another head of a beardless old man, front face. (Bartsch, vol. xiii., p. 241, no. 22.) Reproduced, vol. i., p. 220. Formerly ascribed to Mantegna; school of Leonardo.

VI. Another head of an old man, threequarters to the left; no beard. He wears a double cap. (Bartsch, vol. xiii., p. 242, no. 23.) In Leonardo's manner, except the mouth, which is not characteristic. The burin is handled, exactly as Leonardo handled the pen.

VII. Three heads of horses. (Bartsch, vol. xiii., p. 330, no. 24; Passavant, vol. v., p. 54.) The ascription to Leonardo seems to me incon

testable, and this plate should be definitively withdrawn from Verrocchio or Zoan Andrea (see vol. i., p. 147, note). Two states are known. British Museum; the Windsor Library has a fragment of this engraving.

A later copy of this plate is extant. It is in reverse, and contains some slight changes; the hatchings are different, the tufts between the horses' ears are larger, and the mane of the horse on the right looks as if it had been combed. British Museum.

VIII. Four interlaced ornaments.1 Passavant (Peintre Graveur, vol. v., p. 183) only describes three. See vol. i., pp. 225-226, 228-229, 232.

A. In the centre the word VICI: round it the words ACADEMIA LEONARDI forming a circle. Ambrosiana, British Museum, Cabinet des Estampes, Paris.