contradiction to the fact already asserted, that no part of his
collections was ever arranged or prepared for publication by himself,
it is probable we may be told we should add tracts on Motion; on the
Equilibrium of bodies; on the nature, equilibrium, and motion of Water;
on Anatomy; on the Anatomy of an horse; on Perspective; and on Light
and Shadow: which are either mentioned by himself in the Treatise on
Painting, or ascribed to him by others. But as to these, there is great
reason for supposing, that, though they might be intended, they were
never actually drawn up into form. Certain it is, that no such have
been ever given to the world, as those before noticed are the only
treatises of this author that have yet appeared in print; and even they
have already been shewn to be no more than extracts from the immense
mass of his collections of such passages as related to the subjects on
which they profess to give intelligence. If any tracts therefore in his
name, on any of the above topics, are any where existing in manuscript,
and in obscurity, it is probable they are only similar selections. And
indeed it will be found on inspection, that his collections consist
of a multitude of entries made at different times, without method,
order, or arrangement of any kind, so as to form an immense chaos of
intelligence, which he, like many other voluminous collectors, intended
at some future time to digest and arrange, but unfortunately postponed
this task so long, that he did not live to carry that intention into
effect. Under these circumstances, should it happen, as perhaps it
may, that any volume of the whole is confined exclusively to any one
branch of science, such as hydrostatics for instance, it was not the
consequence of a designed plan, but only arose from this accident, that
he had then made that branch the object of his pursuit, and for a time
laid aside the rest. In proof of this assertion it may be observed,
that the very treatise of light and shadow above mentioned, is
described as in the Ambrosian library at Milan, and as a folio volume
covered with red velvet, presented by Signior Mazzenta to Cardinal
Borromeo[i109]; from all which circumstances it is evidently proved
to be one of the volumes now existing in France[i110], which were
inspected and described by Venturi in the tract so often cited in the
course of this life.
Although the principal of Leonardo's productions have been already
mentioned, it has been thought proper, for the satisfaction of the
curious, here to subjoin a catalogue of such of them as have come to
our knowledge; distinguishing in it such as were only drawings, from
such as were finished pictures, and noticing also which of them have
been engraven, and by whom.
CATALOGUE
OF THE
WORKS
OF
_LEONARDO DA VINCI_.
ARCHITECTURE.
Many _designs for plans and buildings_, made by him in his youth[i111].
_A model_ made by him for raising the roof of the church of St. John,
at Florence[i112].
_The house of the family of Melzi at Vaprio_, supposed by Della Valle
to be designed by Leonardo[i113].
MODELS /and/ SCULPTURE.
Some _heads of laughing women_, modelled by him in clay, in his
youth[i114].
Some _boys' heads_ also, which appeared to have come from the hand of a
master[i115].
_Three figures in bronze_, over the gate on the north side of the
church of St. John, at Florence, made by Gio. Francesco Rustici, but
designed with the advice of Leonardo da Vinci[i116].
_A model in clay_, in alto relievo. It is a circle of about two palms
in diameter, and represents St. Jerom in a grotto, old, and much worn
out by prayer. It was in the possession of Sig. Ignazio Hugford, a
painter at Florence, who was induced to buy it in consequence of the
great praises which in his youth he had heard bestowed on it by the
celebrated Anton. Dominico Gabbiani, his master, who knew it to be of
the hand of Leonardo. This model appears to have been much studied in
the time of Pontormo and Rosso; and many copies of it, both drawings
and pictures, are to be found throughout Florence, well painted in
their manner[i117].
The _equestrian statue_ in memory of the Duke of Milan's father, which
was not only finished and exposed to view, but broken to pieces by the
French when they took possession of Milan. It has been said by some,
that the model only was finished, and the statue never cast, and that
it was the model only which the French destroyed[i118].
Vasari, p. 36, mentions a little _model_ by Leonardo in wax, but he
does not say what was its subject.
DRAWINGS.
/Vasari/, p. 24, says, that it was Leonardo's practice to model figures
from the life, and then to cover them with fine thin lawn or cambric,
so as to be able to see through it, and with the point of a fine pencil
to trace off the outlines in black and white; and that some such
drawings he had in his collection.
_A head in chiaro oscuro_, in the possession of Vasari, and mentioned
by him as divine, a drawing on paper[i119].
_A carton of Adam and Eve in Paradise_, made by him for the King of
Portugal. It is done with a pen in chiaro oscuro, and heightened with
white, and was intended to be worked as tapestry in silk and gold; but
Vasari says it was never executed, and that in his time the carton
remained at Florence, in the house of Ottaviano de Medici. Whether this
carton is still existing is unknown[i120].
_Several ridiculous heads of men and women_, formerly in Vasari's
collection, drawn in pen and ink[i121]. Aurelio Lovino had, says
Lomazzo, a book of sketches by Leonardo, of odd and ridiculous heads.
This book appears to have contained about 250 figures of countrymen
and countrywomen laughing, drawn by the hand of Leonardo. Card. Silvio
Valenti had a similar book, in which were caricature heads drawn with a
pen, like that engraven by Count Caylus. Of these caricatures mention
is made in the second volume of the Lettere Pittoriche, p. 170[i122].
The passage in the Lettere Pittoriche here referred to, is part of a
letter without any name or date, addressed _Al Sig. C. di C._; but a
note of the editor's explains these initials, as meaning Sig. Conte
di Caylus, and supposes the author to have been the younger Mariette.
The letter mentions a collection of heads from Leonardo's drawings,
published by the Count; and the editor, in another note, tells us, that
they are caricature heads drawn in pen and ink; that the originals
were bought in Holland, from Sig. Cardin. Silvio Valenti, and that the
prints of which the letter speaks, are in the famous collection of the
Corsini library. The author of the Letter supposes these caricatures to
have been drawn when Vinci retired to Melzi's house, that he invented
them as a new sort of recreation, and intended them as a subject for
the academy which he had established at Milan.
In another part of the same Letter, p. 173, 174, this collection of
drawings of heads is again mentioned, and it is there said, that it
might be that which belonged to the Earl of Arundel. This conjecture
is founded on there being many such heads engraven formerly by Hollar.
In fact, the number of the plates which he has done from drawings of
this painter, are near one hundred, which compose different series. The
author of the Letter adds, that, if a conjecture might be permitted,
we might affirm, that this is the collection of heads of which Paul
Lomazzo speaks; at least the description which he gives of a similar
collection which was in the hands of Aurelio Lovino, a painter of
Milan, corresponds with this as well in the number of the drawings
as their subjects. It represents, like this, studies from old men,
countrymen, wrinkled old women, which are all laughing. Another part of
this Letter says, it is easy to believe that the collection of drawings
of heads which occasioned this Letter, might be one of those books in
which Leonardo noted the most singular countenances.
In p. 198 of the same Letter, Hollar's engravings are said to be about
an hundred, and to have been done at Antwerp in 1645, and the following
year; and in p. 199, Count Caylus's publication is said to contain 59
plates in aqua fortis, done in 1730, and that this latter is the work
so often mentioned in the Letter.
_Another collection of the same kind of caricature heads_ mentioned in
Mariette's Letter[i123], as existing in the cabinet of either the King
of Spain or the King of Sardinia.
_Four caricature heads_, mentioned, Lett. Pitt. vol. ii. p. 190,
as being in the possession of Sig. Crozat. They are described as
drawn with a pen, and are said to have come originally from Vasari's
collection of drawings. Of this collection it is said, in a note on the
above passage, that it was afterwards carried into France, and fell
into the hands of a bookseller, who took the volume to pieces, and
disposed of the drawings separately, and that many of them came into
the cabinets of the King, and Sig. Crozat. Others say, and it is more
credible, that Vasari's collection passed into that of the Grand Dukes
of Medici.
_A head of Americo Vespucci_, in charcoal, but copied by Vasari in pen
and ink[i124].
_A head of an old man_, beautifully drawn in charcoal[i125].
_An head of Scarramuccia, captain of the gypsies_, in chalk; formerly
belonging to Pierfrancesco Giambullari, canon of St. Lorenzo, at
Florence, and left by him to Donato Valdambrini of Arezzo, canon of St.
Lorenzo also[i126].
_Several designs of combatants on horseback_, made by Leonardo for
Gentil Borri, a master of defence[i127], to shew the different
positions necessary for a horse soldier in defending himself, and
attacking his enemy.
_A carton of our Saviour, the Virgin, St. Ann, and St. John._ Vasari
says of this, that for two days, people of all sorts, men and women,
young and old, resorted to Leonardo's house to see this wonderful
performance, as if they had been going to a solemn feast; and adds,
that this carton was afterwards in France. It seems that this was
intended for an altar-piece for the high altar of the church of the
Annunziata, but the picture was never painted[i128]. However, when
Leonardo afterwards went into France, he, at the desire of Francis
the First, put the design into colours. Lomazzo has said, that this
carton of St. Ann was carried into France; that in his time it was at
Milan, in the possession of Aurelio Lovino, a painter; and that many
drawings from it were in existence. What was the fate this carton of
St. Ann underwent, may be seen in a letter of P. Resta, printed in the
third volume of the Lettere Pittoriche, in which he says, that Leonardo
made three of these cartons, and nevertheless did not convert it into
a picture, but that it was painted by Salai, and that the picture is
still in the sacristy of St. Celsus at Milan[i129].
_A drawing of an old man's head, seen in front_, in red chalk;
mentioned Lett. Pitt. vol. ii. p. 191.
_A carton_ designed by him _for painting the council-chamber at
Florence_. The subject which he chose for this purpose was, the history
of Niccolo Piccinino, the Captain of Duke Philip of Milan, in which
he drew a group of men on horseback fighting for a standard[i130].
Mariette, in a note, Lett. Pitt. vol. ii. p. 193, mentions this carton,
which he says represented two horsemen fighting for a standard; that
it was only part of a large history, the subject of which was the rout
of Niccolo Piccinino, General of the army of Philip Duke of Milan,
and that a print was engraven of it by Edelinck, when young, but the
drawing from which he worked was a bad one. In the catalogue of prints
from the works of Leonardo, inserted Lett. Pitt. vol. ii. p. 195, this
print is again mentioned and described more truly, as representing
four horsemen fighting for a standard. It is there supposed to have
been engraven from a drawing by Fiammingo, and that this drawing might
have been made from the picture which Du Fresne speaks of as being in
his time in the possession of Sig. La Maire, an excellent painter of
perspective.
_A design of Neptune drawn in his car by sea horses, attended by sea
gods_; made by him for his friend Antonio Segni[i131].
_Several anatomical drawings_ made from the life, many of which
have been since collected into a volume, by his scholar Francesco
Melzi[i132].
_A book of the Anatomy of man_, mentioned by Vasari, p. 36, the
drawings for which were made with the assistance of Marc Antonio della
Torre, before noticed in the present life. It is probably the same with
the preceding.
A beautiful and well-preserved study in red and black chalk, of the
_head of a Virgin_, from which he afterwards painted a picture. This
study was at one time in the celebrated Villa de Vecchietti, but
afterwards, in consequence of a sale, passed into the hands of Sig.
Ignazio Hugford[i133].
_Two heads of women in profile_, little differing from each other,
drawn in like manner in black and red chalk, bought at the same sale
by Sig. Hugford, but now among the Elector Palatine's collection of
drawings[i134].
_A book of the Anatomy of a horse_, mentioned by Vasari, p. 36, as
a distinct work; but probably included in Leonardo's manuscript
collections. See the account before given of them.
Several designs by Leonardo were in the possession of Sig. Jabac, who
seems to have been a collector of pictures, and to have bought up for
the King of France several excellent pictures particularly by Leonardo
da Vinci[i135].
_A drawing of a young man embracing an old woman_, whom he is caressing
for the sake of her riches. This is mentioned, Lett. Pitt. vol. ii. p.
198, as engraven by Hollar, in 1646.
_A head of a young man seen in profile_, engraven in aqua fortis
by Conte di Caylus, from a drawing in the King of France's
collection[i136].
_A fragment of a Treatise on the Motions of the Human Body_, already
mentioned in the foregoing life.
In the Lettere Pittoriche, vol. ii. p. 199, mention is made of a print
representing _some intertwisted lines upon a black ground_, in the
style of some of Albert Durer's engravings in wood. In the middle of
this, in a small compartment, is to be read, "/Academia Leonardi Vin/."
Vasari, it is there said, has noticed it as a singularity.
In p. 200 of the same work, a similar print is also noticed, which
differs only in the inscription from the former. In this last it is
/Academia Leonardi Vici/. Both this and the former print are said to
be extremely rare, and only to have been seen in the King of France's
collection. It does not however appear from any thing in the Lett.
Pitt. that they were designed by Leonardo.
The Abate di Villeloin, in his Catalogue of Prints published in 1666,
speaks, under the article of Leonardo da Vinci, of a print of the
taking down from the Cross; but the Lett. Pitt. says it was engraven
from Eneas Vico, not from Leonardo[i137].
_Two drawings of monsters_, mentioned by Lomazzo, consisting of a boy's
head each, but horribly distorted by the misplacing of the features,
and the introduction of other members not in Nature to be found
there. These two drawings were in the hands of Francesco Borella, a
sculptor[i138].
_A portrait_ by Leonardo, _of Artus, Maestro di Camera to Francis I._
drawn in black lead pencil[i139].
_The head of a Cæsar crowned with oak_, among a valuable collection
of drawings in a thick volume in folio, in the possession of Sig.
Pagave[i140].
_The proportions of the human body._ The original of this is preserved
in the possession of Sig. Pagave. At the head and foot of this drawing
is to be read the description which begins thus: _Tanto apre l'Uomo
nelle braccia quanto è la sua altezza, &c._ and above all, at the
head of the work is the famous Last Supper, which he proposes to his
scholars as the rule of the art[i141].
_The Circumcision_, a large drawing mentioned Lett. Pitt. vol. ii.
283, as the work of Leonardo, by Nicolo Gabburri, in a letter dated
Florence, 4th Oct. 1732, and addressed _Al Sig. Pietro Mariette_.
Gabburri says he saw this drawing, and that it was done on white paper
a little tinted with Indian ink, and heightened with ceruse. Its owner
then was Alessandro Galilei, an architect of Florence.
_A drawing consisting of several laughing heads, in the middle of which
is another head in profile, crowned with oak leaves._ This drawing was
the property of the Earl of Arundel, and was engraven by Hollar in
1646[i142].
_A man sitting, and collecting in a looking-glass the rays of the sun,
to dazzle the eyes of a dragon who is fighting with a lion._ A print of
this is spoken of, Lett. Pitt. vol. ii. p. 197, as badly engraven by an
anonymous artist, but it is there said to have so little of Leonardo's
manner as to afford reason for believing it not designed by him, though
it might perhaps be found among his drawings in the King of France's
collection. Another print of it, of the same size, has been engraven
from the drawing by Conte de Caylus. It represents a pensive man, and
differs from the former in this respect, that in this the man is naked,
whereas in the drawing he is clothed.
PAINTINGS.
_A Madonna_, formerly in the possession of Pope Clement the
Seventh[i143].
_A small Madonna and Child_, painted for Baldassar Turini da Pescia,
who was the Datary[i144] at Lyons, the colours of which are much
faded[i145]. It is not known where this now is.
_A Virgin and Child_, at one time in the hands of the Botti
family[i146].
_The Virgin sitting in St. Ann's lap, and holding her little Son_,
formerly at Paris[i147]. This has been engraven in wood, in chiaro
oscuro, by an unknown artist. The picture was in the King of France's
cabinet, and a similar one is in the sacristy of St. Celsus at
Milan[i148].
_Another Virgin with her Son, St. John, and an Angel_, mentioned by Du
Fresne, as at Paris[i149].
_A Madonna and Child_, in the possession of the Marquis di Surdi[i150].
_A Madonna and Child_, painted on the wall in the church of St. Onofrio
at Rome[i151].
_A Madonna kneeling_, in the King's gallery in France[i152].
_An Holy Family, with St. Michael, and another Angel_, in the King of
France's collection[i153].
_A Madonna_, in the church of St. Francis at Milan, attributed to
Leonardo by Sorman[i154].
_A Virgin and Child_, by Leonardo, in Piacenza, near the church of Our
Lady in the Fields. It was bought for 300 chequins by the Principe di
Belgioioso[i155].
_A Madonna, half length, holding on her knee the infant Jesus, with a
lily in his hand._ A print of this, engraven in aqua fortis by Giuseppe
Juster, is mentioned Lett. Pitt. vol. ii. p. 196. The picture is there
said to have been in the possession of Charles Patin, and was supposed
by some to have been painted for Francis I.
_An Herodiade_, some time in Cardinal Richelieu's possession[i156].
_The daughter of Herodias, with an executioner holding out to her the
head of St. John_, in the Barberini palace[i157].
_An Herodiade with a basket, in which is the head of John the Baptist._
A print of this in aqua fortis, by Gio. Troven, under the direction of
Teniers, is mentioned Lett. Pitt. vol. ii. p. 197, and is there said
to have been done from a picture which was then in the cabinet of the
Archduke Leopold, but had been before in that of the Emperor.
Another picture of the same subject, but differently disposed. It is
also an half length. A print from it, in aqua fortis, by Alessio Loyr,
is mentioned Lett. Pitt. vol. ii. p. 197; but it is not there said in
whose possession the picture ever was.
_The angel_ in Verrochio's picture before mentioned[i158].
_The shield_, mentioned by Vasari, p. 26, as painted by him at the
request of his father, and consisting of serpents, &c.
_A head of Medusa_, in oil, in the palace of Duke Cosmo. It is still in
being, and in good preservation[i159].
_A head of an angel raising one arm in the air_, in the collection
of Duke Cosmo[i160]. Whether this is a picture, or only a drawing,
does not appear; but as Vasari does not notice any difference between
that and the head of Medusa, which he decidedly says is in oil, it is
probable that this is so also.
_The Adoration of the Magi_: it was in the house of Americo Benci,
opposite to the Portico of Peruzzi[i161].
_The famous Last Supper_, in the Refectory of the Dominican convent of
Santa Maria delle Grazie[i162]. A list of the copies made from this
celebrated picture has, together with its history, been given in a
former page. A print has been engraven from it under the direction of
Pietro Soutman; but he being a scholar of Rubens, has introduced into
it so much of Rubens's manner[i163], that it can no longer be known for
Leonardo da Vinci's. Besides this, Mariette also mentions two other
prints, one of them an engraving, the other an etching, but both by
unknown authors. He notices also, that the Count di Caylus had etched
it in aqua fortis[i164]. The print lately engraven of it by Morghen has
been already noticed in a former page.
_A Nativity_, sent as a present from the Duke of Milan to the
Emperor[i165].
_The portraits of Lodovic Sforza, Duke of Milan, and Maximilian his
eldest son, and on the other side Beatrix his dutchess, and Francesco
his other son_, all in one picture, in the same Refectory with the Last
Supper[i166].
_The portraits of two of the handsomest women at Florence_, painted by
him as a present to Lewis XII[i167].
_The painting in the council-chamber at Florence_[i168]. The subject of
this is the battle of Attila[i169].
_A portrait of Ginevra_, daughter of Americo Benci[i170].
_The portrait of Mona Lisa_, the wife of Francesco del Giocondo,
painted for her husband[i171]. Lomazzo has said, she was a Neapolitan,
but this is supposed a mistake, and that she was a Florentine[i172]. In
a note of Mariette's, Lett. Pitt. vol. ii. p. 175, this picture is said
to have been in the collection of Francis I. King of France, who gave
for it 4000 crowns.
_A small picture of a child_, which was at Pescia, in the possession of
Baldassar Turini. It is not known where this now is[i173].
_A painting of two horsemen struggling for a flag_, in the Palais Royal
at Paris[i174].
_A nobleman of Mantua_[i175].
_A picture of Flora_, which Du Fresne mentions as being in his time
at Paris. This is said to have been once in the cabinet of Mary de
Medicis[i176], and though for some time supposed to have been painted
by Leonardo da Vinci, was discovered by Mariette to have been the work
of Francisco Melzi, whose name is upon it[i177]. In the supplement to
the life of Leonardo, inserted in Della Valle's edition of Vasari, this
picture is said to have been painted for the Duke de S. Simone.
_A head of John the Baptist_, in the hands of Camillo Albizzo[i178].
_The Conception of the blessed Virgin_, for the church of St. Francis
at Milan[i179]. This was esteemed a copy, and not worth more than 30
chequins, till an Englishman came there, who thought a large sum of
money well employed in the purchase of it[i180].
_St. John in the Wilderness_, said to be at Paris[i181]. In Lett. Pitt.
vol. ii. p. 197, mention is made of a print of St. John the Baptist,
half length, by Sig. Jabac, who had the original picture, which was
formerly in the King of France's cabinet.
_Joseph and Potiphar's wife_, which Mons. de Charmois, secretary to the
Duke of Schomberg, had[i182].
_A portrait of Raphael_, in oil, in the Medici gallery. This is
mentioned in Vasari, p. 47; and though not expressly there said to be
by Leonardo, is so placed as to make it doubtful whether it was or not.
_A Nun, half length_, by Leonardo, in the possession of Abbate
Nicolini[i183].
_Two fine heads_, painted in oil by Leonardo, bought at Florence by
Sig. Bali di Breteuil, ambassador from Malta to Rome. One of these,
representing a woman, was in his first manner. The other, a Virgin, in
his last[i184].
_A Leda_, which Lomazzo says was at Fontainebleau, and did not yield in
colouring to the portrait of Joconda in the Duke's gallery. Richardson
says it was in the palace Mattei[i185].
_The head of a dead man_, with all its minute parts, painted by
Leonardo, formerly in the Mattei palace, but no longer there[i186].
A picture containing a study of _two most delicate female heads_, in
the Barberini palace at Rome[i187].
_A portrait of a girl with a book in her hand_, in the Strozzi palace
in Rome[i188].
_The Dispute of Jesus with the Doctors_, half length, in the Panfili
palace[i189].
Five pictures in the Ambrosian library at Milan, the subjects not
mentioned[i190].
Some in the gallery of the archbishopric at Milan, the number and
subjects equally unnoticed[i191].
One picture in the sacristy of Santa Maria, near St. Celsus at
Milan[i192].
_A small head of Christ_, while a youth, mentioned by Lomazzo. Probably
this may be the study for the picture of Jesus disputing with the
Doctors, at the Panfili palace[i193].
_St. Michael with a man kneeling_, in the King of France's
collection[i194].
_A Bacchus_, in the same collection[i195].
_The fair Ferraia_, in the same collection[i196].
_A portrait of a lady_, there also[i197].