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.