RAPHI ES OF T HE GREAT ART IST Illustrations (in all over ONE T HOUS nd x r bou e t a, red bop. ml La ! J a mi, 46 . (k m am: 38. 6d . ) ea at in Wm“ alu m . 23 . a nd 28. E m . w m . Sr M A T o m B . Two Vols. in m o. B E. Mu m] . one. « o S ABLE. 8 ’ s BROCK M M ' ‘ in T w ' am . c . Rr r r 34 A . M A . QJfi By . P m P m . R URNER m M SL v m find s. T . By Cos o ONKBOO By Hm ”BA ! m u r m u m By A usrm Doosou . Two Vols. in m mum) w m W . m . B J one. 0 m y . B M Roam M , om , B- A Co mm, B SA . “ rm om ° B T wo V ls ia W o r d BOLLAND: BUI S Y o e 1 n . 4 mm m m G. m . 8m m“ , mm “ m m“ m m . B”“ A e " F. m am . By ' Sw a n s. W ou r n BA . m an na B . - J M cox vm “ a rmm m; m at wa g?15 W 3“ and orks. By mon o. By m Two Vols. in m m . n m . on . one 3 Gd By ! , 3 D on na. m um and m oan . By Two Vols. in one 3. 64 . W , 3 . ou nt" BA . M , w u ss Du w n n. By J. Mom BA . m m fioomm nn m e! one, “ new acuam o and mm. m m . By J. w. BA . ’ D vmts. m m B N . Au 1 1m m. BOOKLE ' I u m Cu au m . BOT . By C L RE H 13 2 21 . A B C 0 . B R F T y m H u m M . A. m MA . Two m . B Hu ‘ . LI TTLE m a 0? on . W u . one . R. Osn W m m rro. By m . By . B 8cm s am am -u m . By J ‘ L R x u ma. Cuu om . PA U c VEBBBUK 3 3 20610. Com e s O : a Memoir. By J By M ‘ Bu vnuc rou A1 mason. H u ron. LO N DO N : S A M PSO N LO W M AR STON COMPANY LTD. 0 0 0 0 0 P R E F A C E. Mom: or less successful biographies of Leon ardo da Vinci hav e of late years appeared fromthe pens of Charles Blane; h C rl Clement Mrs. H a an d rl Bru . ha es , e ton, Ka n In t is Mr P E P l r lat w rk i . r . r o , wh ch e cy inke ton has kind y t ans ed z for me I av w l m ro erto , h e sought to keep ithin the i its p p m r r r m l v r f a s a e e biog aphy, endeavou ing ain y to e i y the f ct ’ ar s l f firm ho of the ti t s i e, and to con the authenticity of t se k H l in n wor s which he has left behind . appi y this instace it has been not wholly impossible to add somewhat to our f rm r r l l r a r the o e pe sona know edge of the g eat p inte , as ’ best and most reliable sources ofinformation are Leonardo s 2: own u l c m v hi r met npub ished do u ents, which ha e the to ‘ w u a fr m art The ith b t scant ttention o the student of . r r m f r M resea ches unde taken by e in the our Leona do SS. in and m r m m r nda R al London, the nu e ous e o a in the oy — Library at Windsor access to which has been most — graciously accorded to me hav e led to results which ’ throw new light upon several facts relatin g to Leonardo s b r r his or . iog aphy, and to the histo y of w ks v m i me os . ' C r in l a a n e r s c ar c ter e ta y , p i t h a is to be gauged from a study of his pictures rather than from the actual incidents ’ in his life in c n rd o da r yet dis ussing Leo a Vinci s wo ks , it is r m r l r l e s a w e av to p i a i y with histo ica qu stion th t h e do . In this volume I hav e purposely treated only of such paintings by the maste r which I can conscientiously pro i f the l r a u h s . O so no nce to be these ist is sho t one, that t o m m r m r r n ma r r r so e y e a ks the eo y savou of hype c iticism. Yet for this the master himself is to blame ; we can only echo the universal lament as to the dearth of pictul e s ’ r ar which he has given to poste ity . In Leon do s own da m r r l r r s y, even , his conte po a y Ugo ino Ve ino w ote thu reproachfully of him rs n e L n u u fo an s p rat eo ardus Vi ci s omnoo, Tellers do abula dextram sed nesoit et ins ar t , t " P o o e nia multis ix u uam riicit annis r t g v po . It would have been outside my purpose to sift and weigh the reasons no less obv ious than un w arrautable whereby so v ast a list of spurious picture s has been l traditionally ascribed to Leonardo . Possib y also such a task wou ld hav e been quite barren of result ; for when called upon to refute the assertions of prejudiced - sm the art r f lls rl s. P egoi , pen of the c itic a powe es ainting — has a language of its ow n a language with dialects not m lf has l r o all . rd e unde st od by Leona o hi s just y said , " T ir ll erch th d ll h st sha p y tongue , and thy bo y sha s r l c l and st ere wa te th ough a k of s eep su enance , thou sanst describe in words that which painting instantly Se ts forth before the eye . r l r t l r T re i n the wo ds of a ce eb a ed Ita ian connoisseu , he r li l ou n r not l is still ve y tt e known ab t Leo a do da Vinci, on y ii PREFACE. v r Al ls m n r on a . To the othe side of the ps, but o a o g us he e r G r he r as r a gethe with io gione, anks that one of the g e t l m r a r an d d Ita ian aste s who, th nks to the igno ance stupi n s m met ff r e na v va ity of o e, has with indi e enc , y e en with r l m r c . To fi r dis espe t show us this gu e a ight , in its sub i e, l l l r m a f l al its co ossa out ine, is in t uth the ost be uti u as so the most diflicul t of tasks which the art- historian can hims lf E l d v ar l u n set e . ng an , with its iety of count ess c v r r a r of all l fi dis o e ed t e su es , is p aces the ttest whence to c m r r m r him l r an d o e nea e to the aste , to study c ose , to ” know himmore thoroughly . J . P. R. NDON December 18 9 LO , , 7 . I LLU S T R A T I N O S. A ter Paintin s f g . Adoration of the Kin gs The Last Supper Vir in and St A nne Double g . ( Battle of A nghiari Mona Lisa Vierge au x Rochcrs La Sainte A nne A fter Drawings. Portrait of himself Female Head Head of Christ Head of a Boy A Sketches fter . Men on Horses fighting with a Dragon G rou p for the Last Supper Suggestion for the Sforz a Monument A En ravin fter g g. Female Head in London l mson Wi lia . Drawn by James J. N N T CO T E S. CHAPTER 1 . rec s The Florentine School of Painting in the Fifteenth Century The ou h of Leonardo da Vinci—The Studio of his Master y t , Verrocchio HAPTER I I C . — — Journey to Milan His Letter to D uke Lodovwo The Last — ’ — Supper Goethc s Criticismof the Picture Preparatory Studies 12 HAPTE I I I C R .